2. The role of the Gorogli epic in the lives of other peoples
3. The role of the epic in the life of the Uzbek people
1. The abnormality of Gorogli's birth, his early childhood, and his "unusual" behavior during adolescence are explained by these peculiarities. It may seem more difficult to understand the meanings behind the images, sometimes bright, sometimes dim, of the influence of early myths and legends, the remnants of ancient imaginations and beliefs. Many artistic symbols were created in the epic. People's leaders, ordinary citizens, many young men, girls and women's unique figures are shown with excellent artistry. The events of the epic develop with Shahdar Khan, the king of the Zargar country, making a war of invasion to the Yovmit country. Here, the unique qualities of the kings of the two countries, that is, the grandfather of Gorogli, King Adil Khan and Shahdar Khan, will be highlighted. In contrast to the human qualities of Adil Khan, Shahdar Khan's defects are noticeable. Shahdarkhan's decision-making without listening to advice, without thinking, and his lack of foresight caused the untimely death of many people and changed their destinies. Because of this war, Gorogli's parents - Ravshan and Bibi Hilal - went to Zargar's country as a child and grew up in exile. In the epic, the birth of the hero and his display of bravery from a young age are described in detail. Chiltans and Khizr alayhissalam play a major role in the birth of Gorogli and his heroism for the sake of the people. These are permanent participants of folk epics, they patronize and guide folk heroes. They guide the hero who has no life experience and educate him and teach him to serve others.
Logically, someone should save a baby born in abnormal conditions from death. Since Gorogli was born in a grave, Bibi Hilal's lifeless corpse could not raise him. In this place, Khizr and Chiltans will be present to wrap the baby. The unnatural birth of Gorogli is a sign that in the future he will grow up to be the owner of extraordinary power and intelligence, unlike others. His frolic with his peers, bullying and violence against his elders is an artistic depiction of his alpinism. In the Taka-Yovmit people, which were in disarray, a radical change occurred with the arrival of Gorogli. Most importantly, he restores the country's honor, passion, and dignity. The sense of boyhood duty and responsibility is strongly formed in Gorogy. It is this feeling that moves him and gives him strength. In the development of the events of the epic, the character of Rayhan Arab has a special place. He was the king of the land of Shirvan, and the countries of Iraq and Arabia depended on him. Rayhan Arab - Rustam kelbatli, warrior, fearless and brave, self-confident king. His horse was a real vulture, and it was impossible to chase him. This can also be understood from the following question Gorogli said to Rayhan the Arab: A real vulture is playing under you, Your glory is like Rustam, Where, guest, is your elet, My dragon badge, take note. are you Rayhan Arab heard about the leech of Kholjuvan, came to see and fell in love with her. When Khaljuvan was given a suitor, Ahmadbek also took a suitor himself. Although Rayhan Arab could not reach Kholjuvan, every year he would wait for Ahmad-beg's absence and go to see him from sheltered places. He was always on the verge of taking Kholjuvan away. One day, Rayhan heard that the Arab Ahmadbek had traveled to a city, and he used the opportunity to come to the Turkmen country to take Kholjuvan and escape. Then he encounters Gorogli and implements his plan using him. Gorogli, who knows that he is guilty of taking away Kholjuvan from Rayhan Arab, aims to get revenge from him in any way possible and achieves it. Instead of Khuljuvan Checha, Rayhon brings Arab's daughter Zaydinoy to his uncle Ahmadbek. In the course of these events, the unique human feelings, bravery and bravery of Gorogli and Rayhan Arab are more clearly visible. There are different approaches to the interpretations of the name Gorogli. Jud. In particular, views justifying the motive of his "ghor" - birth in a grave - have gained priority. At the same time, there is a direction that emphasizes that he is the "child of a blind father". In particular, the influence of both of these views is clearly felt in Polkan's poet's version. The root part of the name allows for many interpretations. After all, in addition to "blind" and "blind", the root "kur" is one of these varieties. Its meaning is alpine, heroic, brave. It is no coincidence that Ravshan is not only a critic, but also a very strong judge. Meanings like "sun", "grass", "fire", "black", "snow", "mountain" are embodied in this root, which are the oldest through ancient myths and legends. allows to restore imagination. In folk epics, the hero always appears together with his horse. If you remember, Alpomish also had a horse. It was known as Boychibor.
2. Epics of the "Gorogli" series are very common among many peoples, and are still sung by Bakhshis in some peoples. These epics form unique series in the epic creativity of Uzbek, Tajik, Turkmen, Azerbaijani, Turkish, Kazakh, Karakalpak, Armenian, Georgian, Kurdish peoples. Gorogli is one of the favorite epic heroes of Siberian Tatars, Bulgarian Turks, Iranian Azerbaijanis, Stavropol Turkmen, and Afghan Uzbeks. Some pictures of the category were also recorded from the Arabs of Central Asia (Bukhara). The folklore of the world does not know of such a multi-faceted epic work, which includes all kinds of categorizations, spread on such a wide scale in such a wide area, mainly among Turkic peoples and partly among non-Turkic peoples. That is why the diplomat A. wrote down the 13 majlis (epos) of the Azerbaijani version and published it in 1842 with an English version. Khodzko: "There is no corner in Asia where Gorogli's name is not mentioned." Even in Bessarabia and Moldavia you will hear his name. "If the fame and popularity of writers is measured by the number of their readers, then Firdavsi will be slightly more than Goroghli," he wrote. Scientists note that the epics of the "Gorogli" series are divided into two major branches. In science, one of them is called Transcaucasian and Middle Eastern versions (Azerbaijani, Armenian, Georgian, Turkish, etc.), and the other is called Central Asian versions (Uzbek, Kazakh, Karakalpak, Turkmen, Tajik, etc.). Although the versions united in these two branches have certain commonalities, they are also seriously different from each other in terms of the reality covered in the sagas, the epic tradition and the value given to the main character, their size, composition, singing and distribution characteristics. does. It can be considered that the Azerbaijani version of the category can fully express the common features characteristic of the Transcaucasian and Middle Eastern versions. In this version, Gorogli is the leader of forty young men who lead a rebellion against the existing regime. Unexpectedly, he plunders merchant caravans, defeats hostile neighboring kingdoms, shows great courage and heroism in such battles; He enters the enemy in the guise of a shepherd, horseman, darbadar bakhshi, prayer man, fortune teller, helps his captured young men with a very skillful enterprise, and takes away the beauties he and his young men like. Such stories about the bravery and bravery of Korogly have a semi-historical, semi-legendary character. At the core of these stories lies real history in the colors of folklore. Various palace intrigues in the semi-independent kingdoms under the Turkish sultan or the Iranian kings, life in the bustling trade and craft cities where the rulers lived, battles on the great caravan routes are the historical basis of the Azerbaijani version, and according to this version, Gorog li is shown as a contemporary of the Iranian king Abbas I (1585-1628). Indeed, according to the Armenian historian Arakel Tavrizi (died 1670), one of the leaders of those who revolted against King Abbas and the Sultan of Turkey was a Gorogli rich man. "This is the same Gorogli who wrote many songs that lovers are singing now," the Armenian historian clarifies. So, in the Azerbaijani version, the events related to a specific person and era are sung from the point of view of the ideal of incomparable power and courage, noble human qualities. However, the generalization and idealization is not at the level of denying a certain era and historical events, but it (the ideal of the people) is closely connected with concrete biographical details and life scenes. In the Central Asian versions, especially in the Uzbek versions, we see a very high level of generalization and idealization. Here, the heroic past is depicted not in the aspect of specific historical events, but in unparalleled romantic pictures, in the scope of the incomparable ideals of the people. Everything - life, people's life, historical reality, and the heroes produced by the present time are embodied in sublime romantic colors, in endless ideal artistic imaginations, in a vortex of endless images.