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PHILOLOGICAL SCIENCES / «еЮЦУШШУМЛУШаИ» #3И54)), 2022
PHILOLOGICAL SCIENCES
УДК 821(091)
Aynur Aydin gizi Farajova Doctor of Philosophy in Philology Post graduate student of the Institute of Folklore of ANAS DOI: 10.24412/2520-6990-2022-31154-60-64 THE PLACE AND FUNCTION OF DEDE GORGUD IMAGE IN THE SYSTEM OF OGUZ
THEOGONIC VIEWS
Айнур Айдын кызы Фараджова
Кандидат филологических наук, Докторант Института Фольклора Национальной Академии Наук Азербайджана
МЕСТО И ФУНКЦИЯ ОБРАЗА ДЕДЕ КОРКУТ В СИСТЕМЕ ОГУЗСКИХ ТЕОЛОГИЧЕСКИХ
ВОЗЗРЕНИЙ
Abstract
The image of Dede Gorgud is one of the most famous images of Turkic epic culture. His name is met in the belief systems of Turkic peoples and in the epic "Oghuzname". But the Oghuzname, where the name of this character is mentioned more broadly, is the epic "The Book of Dede Gorgud". Each part of the epic is associated with his name. The image of Dede Gorgud is not compared with any image in terms of its functional semantics, that is, the meaning and content of the task/function performed by him in plots as an image. In addition to being an elder, a connoisseur in the epic, he also performs the function of the "qam"/ "shaman". This also shows that he is associated with sacral powers, including the system of Gods. Dede Gorgud, who is shown to have a special relationship with God in the first sentence of the epic, is an image with rich theogony semantics in this aspect.
Аннотация
Образ Деде Коргута является одним из самых известных образов тюркской эпической культуры. Его имя встречается в системах верований тюркских народов и в эпосе «Огузнаме». Однако Огузнаме, в которой более широко упоминается имя этого этого персонажа является эпос «Книга моего Деда Кор-кута». Каждая песня/часть эпоса связана с его именем. Образ Деде Коркута не может сравниться ни с каким образом по своей функциональной семантике, т. е. по смыслу и содержанию той задачи/функции, которую он выполняет в сюжетах. В эпосе он старейшина/мудрец, всезнающий, но также действует как гам/шаман. Это указывает на его отношение к священным/сакральным силам, в том числе и к системе богов. Деде Коркут, у которого в первом предложении эпоса описаны особые отношения с Богом, является персонажем с богатой теогонической семантикой.
Keywords: theogony, theo-cosmogony, "The Book of Dede Gorgud", Dede Gorgud, Father Gorgut, God, family of Gods
Ключевые слова: теогония, тео-космогония, «Книга моего Деда Коркута», Деде Коркут, отец Кор-кут, Всевышний, пантеон.
Setting the issue. The image of Dede Gorgud is one of the most famous images of Turkic epic culture. His name is met in the belief systems of Turkic peoples and in the epic "Oghuzname". But the Oghuzname, where the name of this character is mentioned more broadly, is the epic "The Book of Dede Gorgud". Each part of the epic is associated with his name. The image of Dede Gorgud is not compared with any image in terms of its functional semantics, that is, the meaning and content of the task/function performed by him in plots as an image. In addition to being an elder, a connoisseur in the epic, he also performs the function of the "qam"/ "shaman". This also shows that he is associated with sacral powers, including the system of Gods. Dede Gorgud, who is shown to have a special relationship with God in the first sentence of the epic, is an image with rich theogonic semantics in this aspect.
Purpose of the study: The main purpose of the study is to investigate the place and function of the image of Dede Gorgud in the system of Oghuz theogonic views based on the epic "Kitabi-Dede Gorgud".
First of all, it should be noted that the term "Theogony", as a concept, includes the imaginations about Gods and how their generations arose [19; 20]. Of course, it is impossible to meet these ideas in their original form, that is, in the form of myths of ancient times with the primitive content. Because with the development of human society its mythical views were later transformed into various spheres of culture, including folklore. From this point of view, in epic genres of folklore, especially in epics there are images that are carriers of transformed theogonic views. As Farah Jalil mentions: "One of the characteristic cases reflected in oral activity is related to the transmission in one way or another of the myths about Gods and families of
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Gods contained in the initial belief system into epic activity. Though sometimes Gods and families of Gods are reflected directly in the activity of the epic, in other cases these myth characters are transformed into the image of ancestral heroes and presented in a new interpretation" [9, p. 66]. From this point of view, the theo-gonic lines, which have found their embodiment in the image of Dede Gorgud, more precisely, preserved, of course, are also transformed lines and elements of meaning.
Dede Gorgud is such a popular character that many opinions have been said about him. Jalal Baydili (Mammadov) [2, p. 172-176; 3, p. 29-39; 4, p. 27-34; 7, p. 71-78], who studied the relationship of this image with holiness, naming, death avoidance, eschatology (the end of the world), determined the approximate picture of the existing ideas about Dede Gorgud in scientific literature as the followings:
Dede Gorgud:
- connected with ancient mythological views;
- it is not clear whether he is a historical or mythological person, as there are no relevant historical sources about him;
- is a wise old man, which has become an generalized symbol;
- the conversations about the fact that he is a legendary person are unfounded, Father Gorgut is a historical person;
- there is no need to look for its real historical prototype; it is probably tied to the image of the ceremonial patron with its own roots and so on. [6, p. 225].
J.Baydili (Mammadov) mentioning that the ideas in Gorgud-study "sometimes coincide and sometimes one opposes the other" and showed that this contradiction is connected with the evolution of the image historically: "All the functions of the father Gorgut in the epic tradition, due to their structural-semantic features, form a systematic relationship with one another. Whether Gorgut is to avoid death or to give names to objects (things - A. Farajova), whether it is what he says about the end of the world or wisdom, all these functions are interconnected" [6, p.225].
From writings by the author it is clearly seen that Dede Gorgud is a complex structured image that combines many functions. From this point of view, one can consider that the fact that he is the only person in the epic "Kitabi-Dede Gorgud" from the point of view of his duty, role, function, that is, the absence of a second image like Dede Gorgud in the Oghuz area described in the epic is undoubtedly due to the fact that this image has relations with God. Because knowledge, naming, giving news about the future (end) of people, society, the world, at the same time being heard by all in Oghuz area, being considered a sacred being by all, etc. qualities were not abilities and rights inherent in ordinary (profane) man, he could be endowed only by God. From this point of view, Dede Gorgud has very great functions in Oghuz society that other characters cannot perform.
Fuzuli Bayat based on the legends about Qorgud father showed that he had such functions as "ozan", "elder", "creator of gopuz", Saint, doctor, sheikh, shaman, grandfather [1, p. 4]. The author writes about how Dede
Gorgud combines such a variety of functions: "The paradigmatic levels of Gorgud father do not introduce a personality as separate types. On the contrary, it shows him as the different aspects of a single culture. In that case, shamanism is equivalent to profession of a doctor, both together to Islamic sainthood and all three together to owning a province and finally to wisdom" [1, p. 6].
In general, the epic "The Book of Dede Gorgud", as well as the observations and conclusions by Rama-zan Gafarli, who consistently carries the researches about the image of Dede Gorgud, allow us to understand the peculiarities of the poetic structure of this image. In this aspect, the scientist shows that all these functions of Dede Gorgud are in one way or another connected with its mythical nature, roots, origin: "The image of Dede Gorgud itself is at the level of a mythical cultural hero, in which the remnants of the signs ofpri-macy are felt in several parts. As well as its naming feature is mentioned almost in most parts' [11, p. 20].
Ramazan Gafarli mentioning to the mythical originality in the semantics of the image of Gorgud forms an important aspect in understanding the meaning structure of this image. Dede Gorgud, the only character in the epic The Book of Dede Gorgud" according to its function and poetic structure, is the mythical core of the epic in this regard: the whole epic developed from this mythological core and grew up on the basis of that mythical foundation and turned into a huge epic monument. That is why, it is another important point that Ramazan Gafarli pays attention to the fact that there is no single main character in the epic. The author writes that one of the features that distinguish the epic "The Book of Dede Gorgud" from other epic works offolklore is that here one can meet images that are equally well greeted, loved, as well as surpass each other in importance in the development of events. If we look for an answer to the question: "Who is the main character in the epic?", we will probably find it difficult to answer easily" [12, p. 4].
At first glance, this opinion of an experienced folklorist seems strange: at least, Salur Gazan is described more magnificently as the head of all the heroes of the epic. We see Gazan Khan, the second political figure in Oghuz area after Bayindir Khan, as a moving character in many parts of the epos. It is no coincidence that the Vatican version of the epic, consisting of 6 parts, is called "The Story of Gazan Khan and others". However, approaching carefully it is necessary to agree with R.Gafarli: because each of the twelve parts, which are not united with each other in a single plot line, has its own hero and the parts are not united around a single sword hero. And it turns our attention to Gorgud father who has the only unique functions in the whole epic. As twelve parts of the epic are called "Kitabi-Dedem Gorgud ala lisani-taifeyi-oguzan", it becomes clear that, in fact, in terms of idea and content first ten parts of the epic is united around the image of Dede Gorgud. That is, though Dede Gorgud is not a hero of a sword, but a hero of a magic-mythological word, he is the main character of the epic in any case.
V.N.Basilov shows about the roots of the image of Dede Gorgud that he was considered an immortal God before the adoption of Islam and a special myth about
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his death arose after Islam was established [18, p. 5]. According to another opinion of the scientist, the image of the father Gorgut was later deprived of a number of his features, which he had at the very beginning. It is possible to know it from that the character of Gorgud in the epic and his characteristics in the works of history are different. Gorgud father is described as a shaman in folk beliefs, while in the epic one can see only traces of his shamanism [17, p. 42].
It should be noted that the above views of the prominent turkologist confirm the theogony semantics of this image, in which Gorgut father was considered an immortal God, which was conceived before the adoption of Islam. It is clear that Gorgud father himself was in the pre-Islamic epic-mythological tradition in the role of the theogony creator, that is, God. It can be seen from his names as "Father" and "Grandfather".
The names of "Father" and "Grandfather" both refer to the ancestral role of Gorgud. In the epic "The Book of Dede Gorgud" the words "father", "grandfather" are used in the meaning of parent, ancestor. In the epic the word "grandfather" means "dad", which we use now. J.Baydili writes that "In the work "Divanul-lugatit-turk" by M.Kashgarli the word "grandfather" which is mentioned in Oghuz, has the meaning of "ancestor" [5, p. 87]. It is clear from this that the fact that people consider Gorgud as a father or grandfather is related to the sacral ancestor and parental function in the Turkic mythological-epic thought. The sacral ancestor is also the originator, creator of the people. But creativity is a function belonging to Gods. Naming people in the epic "The Book of Dede Gorgud" as an expression of the "cultural hero" typology gives reason to assume that Gorgud was a God in the early mythological thoughts.
From the point of view of the theogony semantics of the image of Dede Gorgud the etymologies written about his name attract attention. Mirali Seyidov noted that the name "Gorgut" was formed from the words "qor" and "qut" [16, p. 181] and the name had two meanings:
1) Gorgut means the base of happiness, fortune, soul, the base of good soul, the life force, life giving;
2) Gorgut means happy fire, fire of happiness, fire of luck, good spirit, fire of life force, fire of life-giving [16, p. 181].
It should be noted that both meanings given by M. Seyidov to the name of Gorgut point to the theogony semantics of the image. Because the fact that Gorgut gives happiness, luck, soul, life force in the first sense, as well as the life-giving fire in the second sense, in all cases indicates that he is connected in one way or another with the function of God.
F.Bayat also associated the name "Gorgut" with the world, the underground world on the basis of the root "Kor/Gor" and on the basis of the root "Gori" (to protect) as a man who protects happiness [1, p. 23].
It is necessary to note that these two meanings given by F.Bayat in the name of Gorgut also refer to the theogony semantics of the image. Because the meaning of connection with that world, the underworld, as well as the meaning of "Gori" (to protect, to save) indicate
that it is connected in one way or another with the function of God. Traveling (mediating) or "protecting" among Sky, Earth and Underworld worlds is an extraordinary function of Gods, not ordinary men. It means though Gorgud is not considered God according to these etymologies, his relationship with God is unquestionable in any case. So, if Gorgud did not have a connection with God, if he did not receive power from God, he would not be able to carry out these extraordinary functions.
Thus, all thoughts point to the connection of the root of God, to his origin. It is no coincidence that the epic "The Book of Dede Gorgud" (its first sentence) begins with the declaration of the identity of Father Gorgut (Dede Gorgud) regarding God: "Resul eleyhisselam zemanina yagin Bayat boyindan Gorgut ata diyerler bir er gopdi. Oguin ol kishi temam bili-jisiydi, - de diyerse, olurdu. Ghaibden durlu kheber soylerdi. Hagg teala anin konlune ilham ederdi..." [10, p. 31].
There is rich knowledge about the epic, mythological and theogony identity of Dede Gorgud in this presentation. But that knowledge seems to be in a compressed form. It means, in a way, they are need to be opened or expanded. From this presentation the follow-ings are become clear about Gorgud:
a) Father Gorgud "was born" close to the time of "Rasul". Mentioning "Rasul" the Prophet of Islam religion Muhammad is meant. In the epos it is not said that Father Gorgud was born exactly in the same year, the same month or the same day as the Prophet Muhammad, simply in the epos it is said that he was born in the period close to his time. Here we observe that the Prophet Muhammad and Dede Gorgud are as if identified in terms of status. The same identification indicates that Dede Gorgud was connected with theogony views, with the root of God. Thus, with the Prophet Muhammad a new era began in world history - the Islamic epoch. In this aspect, the Islamic world, the Muslim community was created by the Prophet Muhammad. The comparison of Dede Gorgud with the Prophet Muhammad indirectly reveals the creative function of Gorgud. In other words, just as the Prophet Muhammad created the Muslim society and the world, Dede Gorgud was the creator of the Muslim Oghuz identity. In fact, though the traces of the Oghuz divinity are widely found in the epic, the ideological concept of the epic promotes the Muslim-Oghuz identity as a whole. As Nizami Jafarov writes, the main characters of the epic "Dede Gorgud" are the Muslim Turks, who not only accepted Islam, but also had the authority to spread it, in the language of the "Book", they are "heroic soldiers". The epic "Dede Gorgud is the epos of them "heroic soldiers" [8, p.63].
b) The fact that Dede Gorgud is a "connoisseur" is a theogony function directly related to God. Because everything he said in Oghuz country about this or that matter turned out to be correct: "what he said, it happened". And if he was not connected to God, he would not be able to say everything from himself.
c) Dede Gorgud receives the information he delivers to people from "Ghaib" ("an other world"), that
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is, from the place called "Ghaib". Considering that the word "Ghaib" has the same root as the word "unseen" in the Arabic language, the name "the unseen world" is mentioned in the Quran, Dede Gorgud receives this information from the sacral/sacred world. And it indirectly refers to his connection with the God of the Oghuzs. S.Rzasoy put forward the idea that the Ghaib world in the epic is not the unseen world in the "Quran" and that Ghaib world is a separate world where the souls of Oghuz heroes fly away [14, p. 191-220; 15, p. 22-29]. We think that these ideas show that the epos "Dede Gorgud" is connected with the world of heaven, with the world of God.
d) The knowledge given in the presentation about Gorgud's identity "God would inspire his heart" shows that he had direct contact with the God of the Oghuz. That is, as Gorgud is a close person to God (home, family), a native person, God gives him this knowledge.
Thus, the theogony function of Dede Gorgud in the Oghuz country is called "connoisseur" / "knowledgeable". The root of this word is the verb "to know". "To know" is a concept with a complex structure. Analyzing that concept S.Rzasoy shows that the functional structure of the status of "Connoisseur" means the fol-lowings:
a) Time-to-time mediation (future reporting): "what he said, it happened". It should not be accepted as programming the time - future. Because he does not program events himself, but receives them ready-made.
b)Spatial mediation: "He used to tell different information from the unseen world". Gorgud makes information mediation between the world of the unseen and the world of the Oghuz. "Ghaib" means unseen place, hidden place. This is the "unseen world" in the religious-mystical sense, the sacred world in the mythological sense is the first space-time world of the first man. The first space and the first time sacral are the structural levels of the "Oghuz kaghan" model. It means that Gorgud mediates between profane Oghuz (people and man) and sacral Oghuz (kaghan) in a ritual-mythological context.
c) Theo-cosmic mediation: "God would inspire the heart of the moment". In the semantic work "God" there are three layers layered one by one:
Islamic layer - Mr.Allah;
Turkic layer - God//Tengri;
Oghuz layer - Oghuz kaghan [13, p. 302-303].
Scientific conclusion and innovations of the work: thus, as a result of the analysis, it becomes clear that in the epic "The Book of Dede Gorgud" one of the images with theogony semantics is Dede Gorgud. Its toe-geonic function, that is, its relationship with God, is clearly stated in the first paragraph of the epic and the function "connoisseur" does not belong to any image other than Gorgud. Gorgud's paternal and ancestral names also point to his creative and causative function as the first ancestor in early mythological imaginations. That is, Father Gorgud is the creator and founder of the Muslim Oghuz community and identity. This also makes it clear that Dede Gorgud is directly related to the family of God (lineage, genealogy) and the God system in the early mythological views.
Theoretical and practical significance of the work: the theoretical significance of the conducted research is determined by the possibility of using it as a theoretical resource in other studies to be carried out with theogony images and the practical significance is determined by the possibility of using it as a practical resource in the process of teaching mythology in universities.
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УДК 821(091)
Талех Аваз оглы Гусейнов Диссертант Бакинского Евразийского Университета ORCiDiD https://orcid.org/0000-0002-2828-2121 DOI: 10.24412/2520-6990-2022-31154-64-67 ПОЭТИЧЕСКИЕ ОСОБЕННОСТИ ПОЭЗИИ НА РЕЛИГИОЗНУЮ ТЕМУ В АЗЕРБАЙДЖАНСКОЙ ЛИТЕРАТУРЕ XIX ВЕКА
Taleh Avaz oglu Huseynov
Post graduate student of Baku Eurasia University ORCiD iD https://orcid.org/0000-0002-2828-2121
POETIC FEATURES OF POETRY CREATED ON RELIGIOUS THEME IN AZERBAIJAN
LITERATURE OF THE 19th CENTURY
Аннотация
В статье исследуется поэзия на религиозную тематику в Азербайджанской литературе XIX века. Автор подчеркивает, что не только представители религиозной литературы, такие как Сейид Азим Ширвани, пишущие и творящие в классическом стиле, но и склонные к просветительству и демократизму, в духе своих произведений также опираются на религию и суфизм, а также широко используют в своей поэзии религиозные термины и понятия. Отмечается, что эта художественная и поэтическая черта более характерна для азербайджанской поэзии XIX века. Известно, что от каждого произведения, особенно от образцов поэзии, требуются две вещи: во-первых, что хочет сказать автор этим произведением литературы, этим примером поэзии, какая идея, какую мысль хочет донести до читателя и внушить ему; во-вторых, каким образом и в каком поэтическом качестве автор может донести эту мысль до читателя. В этом смысле в статье автор ищет ответ на вопрос, какими поэтическими чертами и качествами обладает азербайджанская религиозная литература XIX века.
Abstract
In the article it is mentioned that the religious theme passes from the poetry of the 19th century as a red line. Thus, it is shown that not only the representatives of the tragedy literature, such as Seyyid Azim Shirvani, who write and create in a classical style, but are inclined towards enlightenment and democratism, are also based on the religion in the spirit of their works and use religious terms widely in their poetics. And it is noted that this poetic feature is more characteristic of the 19th century Azerbaijani poetry. It is known that in general, from each work of art, especially examples of poetry, two things are asked, two things are required: the first, what did you mean by this work of art, by this example of poetry - what idea, what thought you wanted to deliver to the reader, what you wanted to inspire; the second, in what way, in what poetic quality you were able to present this idea to
