The time of creation, as well as the genesis of the epic, have not been precisely established. One of the initiators of the study Manas, the Kazakh writer M. Auezov (1897–1961), based on the central episode dedicated to the campaign against the Uighurs, put forward a hypothesis according to which the epic was created no earlier than 840. It reflected the events of the 9th and 10th centuries, that is, the period of “Kyrgyz great power” when the Kirghiz were a numerous and powerful people (in some historical sources it is alleged that at that time they had from 80 thousand to 400 thousand soldiers (Genghis Khan, who created an invincible state, had 125 thousand soldiers).
Episode Chon-kazat (long march) tells about the struggle with a strong eastern state (Mongol-Chinese or Mongol-Turkic), within which the city of Beijin was located, separated from the Kyrgyz state for forty or - in another version - ninety days of travel.
Based on the fact that in 840 the Kirghiz conquered the Uighur kingdom and took its central city of Bei-Tin, M. Auezov suggested that the conqueror of this city, who died in 847, is Manas. The first songs of the poem about Manas, whoever he was by origin, were created in the year of the death of this historical hero, as custom required. The reservation is important, because from that era not a single proper name of commanders or azho (then the name of the Kirghiz khans) has survived. Therefore, perhaps, the name of the hero was different and only a later nickname remained for posterity (the name of a deity from the shamanic pantheon or from Manichaeism, which was then widespread in Central Asia).
Just as the vigilante poet from Words about Igor's regiment sang another historical campaign, the warriors of Manas sang the events in which they took part. Chief among them is Yrymandyn-yrchi-uul (or Jaisan-yrchi, that is, the prince-poet), an associate of Manas. He is a fighter-hero, and therefore the obligatory dream that the narrators see before performing the epic can be interpreted symbolically - they participate in a feast, etc., as if also ranked among the choros, companions of Manas. Thus, "Chon-kazat" was created either during the years of the campaign itself, or immediately after it.
The main core of the epic, which is characterized by many historical layers, was formed in the 15th-18th centuries.
Collection, study and publication of the epic.
First entries Manas, namely the excerpt Wake for Koketei, published in 1856 by the Kazakh educator and ethnographer Chokan Valikhanov (1835–1865). The publication was published in Russian and in prose translation.
The Russian orientalist-Turkologist Vasily Vasilievich Radlov (1837–1918) also collected fragments of the epic in 1862 and 1869. These notes were published in Kyrgyz in Russian transcription in 1885. Full version Manas, according to some estimates, has about 600 thousand poetic lines. There are records of about two dozen options Manas. The Kyrgyz writers Kubanychbek Malikov (1911–1978), Aaly Tokombaev (1904–1988) and Tugelbay Sydykbekov (1912–?) took part in the codification of various versions of this grandiose epic.
The fate of the epic in the 19th–20th centuries dramatic. Its study, as well as publication in the Kyrgyz language, as well as Russian translations, were largely determined by political and purely opportunistic circumstances. Before the revolution of 1917, to promote the epic, in which, according to the poet S. Lipkin, one of the translators Manas into Russian, “the desire of the people scattered by the enslavers to unite” was embodied, was not relevant. Later, when the ideals of Soviet internationalism began to take hold, an active interest in the cultural heritage of the “strong nation state” was interpreted as bourgeois or even feudal nationalism (a significant role was also played by the fact that in Manase touched upon the acute problems of relations between the Kyrgyz and the Chinese, while the USSR and China had close and difficult relations).
Even so, through the efforts of enthusiasts, as well as in the framework of events to national policy, the epic was recorded and promoted. In the early 1920s. The Turkestan scientific commission, and later the Kyrgyz People's Commissariat of Education, took steps to record the epic (the teacher Mugalib Abdurakhmanov, specially sent for this, participated in the work).
Later, in the mid-1930s, a closed competition was announced, the winners of which were given the opportunity to translate the central episode of the epic long march(about 30 thousand poetic lines). The poets S. Klychkov (1889–1937), V. Kazin (1898–1981), G. Shengeli (1894–1956) participated in the competition. The winners were L. Penkovsky (1894-1971), M. Tarlovsky (1902-1952) and S. Lipkin (1911-2003). According to the latter, L. Penkovsky determined the sound Manas for the Russian audience, he set the tone and music of the verse, which was then used by the translators of other fragments. He also solved many issues related to the difficult selection of verbal means to convey the epic in translation.
At first, the situation turned out well: an evening was held in Moscow dedicated to Manas, as well as modern Kyrgyz poetry and music, (written based on the second part of the epic Semetey first Kyrgyz opera Aichurek composers V. Vlasov, A. Maldybaev and V. Fere was staged on April 12, 1939 in Frunze, on May 26, 1939 shown in Moscow, and on June 1, 1939 demonstrated in Bolshoi Theater during the Decade of Kyrgyz Art and Literature). However, over time, the situation has changed. The finished translation was never published before the Great Patriotic War: neither the capital's ideologists nor local party leaders were willing to take responsibility for such a delicate matter. A new period of political repressions began in the country, meanwhile, the events described in Manase, are difficult to interpret in terms of politics. Narrators not only give different names to foreign conquerors (for example, Konurbai, main adversary Manas, in one version of the epic is called a Chinese, and in another - a Kalmyk), but Muslim motifs are also strong in the epic. At the same time, it is characteristic that no matter who acts as foreign conquerors, the storytellers always call the enemies “faithless”, that is, worshiping idols.
The situation partly improved after the Great Patriotic War. In 1946, a Russian translation of the central fragment of the epic was released, the premiere of the opera Manas composers V. Vlasov, A. Maldybaev and V. Fere took place on March 3, 1946 in Frunze, in 1947 a book by S. Lipkin created based on the epic appeared Manas the Magnanimous addressed to a children's audience.
In July 1952, a conference was held in Frunze devoted to the study Manas, and in 1960 a reprint of the Russian translation was published (the fragments translated by M. Tarlovsky were not included in the book). Subsequently, valuable, but few studies on the epic that appeared did not change the state of affairs.
The existence of the epic.
decisive role in life Manas are played by storytellers-improvisers, performers, thanks to whom it has been preserved. There are fundamental differences between them. If the yrchis performed only small fragments or episodes, and possible insertions did not merge with the general text (experts could easily recognize them), then the jomokchi remembered the entire epic by heart, the versions they performed were distinguished by their originality, which made it possible to easily distinguish one jomokchu from another. Leading Researcher Manas M. Auezov proposed an exact formula for various types of performance: "Jomokchu is aed, while yrchi are related to ancient Greek rhapsodes." Yrchi, singing an epic for a week or ten days, is not a real manaschi, that is, a performer Manas. The great jomokchu Sagymbay Orozbakov could perform Manas within three months, and the full version would take six months if performed nightly.
The special position of the storyteller, the universal respect and honor that he was shown everywhere, are associated with the myth of the singer, familiar to many epic traditions. The singer was not only marked by heaven, he was specially called. In a dream, Manas appeared to him, accompanied by forty warriors, and said that the chosen one should glorify his exploits. Sometimes, for various reasons, the future manaschi refused to fulfill his appointment, and then he was pursued by illnesses and various kinds of misfortunes. This continued until the manaschi obeyed the command of Manas and then he could perform a gigantic verse text as a keepsake.
Often execution Manas acted as a kind of healing, the epic was performed in case of illnesses of people and even domestic animals, during difficult childbirth, etc. Thus, a legend has been preserved that one of the most famous manaschi of the 19th century. Keldybek sang Manas at the request of a manap (large feudal lord), whose wife could not get pregnant. After miraculous singing in due time, a son was born in this family.
Based various designs epos, M. Auezov singles out the Naryn and Karakol (Przheval) schools of storytellers, noting that such a division is based on his own observations and the experience of the listener.
Different manaschi had their own range of favorite topics, some preferred heroic and military scenes, others were interested in life and customs. Despite the fact that the plot core, collisions, ups and downs of the fates of the heroes were similar, and their characteristics were repeated, the secondary scenes, episodic characters, motivations for actions, and the order of events differed. Sometimes whole cycles telling about major events differed. However, according to M. Auezov, one can “talk about the presence of an approximately constant, canonical text in individual songs”, which, however, is not yet possible to establish. As the old people recall, the narrators usually began the narration from the birth of Manas, then followed by stories about Almambet, Koshoi, Dzholoi, among the main episodes of the epic - Wake for Koketei and long march.
As for coincidences (up to the names of minor characters), they pointed to plot borrowing, and not at all to the fact that the text was memorized by one jomokchu while performing another. And although different Jomokchu had similar passages, the narrators certainly claimed that their text was independent.
Among the recurring elements are epithets attached to some names, common rhymes, and even some common places(for example, a story about a trip to Beijing). Since, in addition to the performer, many verses were known to the widest audience of listeners, it can be assumed that the jomokchi memorized them, so that when performing the epic, if necessary, they could enter into the text the successful fragments of already developed chapters.
The division of the text directly depended on its execution. So the episodes were divided into parts, each of which was performed during one evening. The epic was rarely performed in full, because it was very expensive. Manap (ruler), who invited the singer, called the listeners according to his own understanding.
The most famous manaschi.
The oldest narrators of the epic are unknown, and there are several reasons for this. The poet acts only in the role of conveying what is already known to the listeners to a certain extent. This oral tale, as M. Auezov notes, "is always conducted on behalf of an anonymous narrator." At the same time, “violation of the epic tranquility, even if only by the introduction of lyrical outpourings, is tantamount to violating the laws of the genre, a stable canonical tradition.” The problem of authorship, irrelevant at a certain stage of culture, was also removed by faith in the heavenly inspiration of the singer.
The first known Jomokchu, Keldybek from the Asyk clan, was born at the end of the 18th century. The legend says: the power of his singing was such that a hurricane suddenly swooped in and unknown horsemen appeared with it, that is, Manas and his associates, the earth trembled from the clatter of horse hooves. The yurt in which the Jomokchu was sung also trembled. According to other legends that existed until the second half of the 20th century, Keldybek was endowed with a miraculous word that commanded both nature and the spirits of ancestors (who were always personally present during singing).
His contemporary Balyk lived in the middle of the 19th century. and, possibly, studied with Keldybek (any biographical information it has not been preserved). Naimanbai, the son of Balyk, also gained fame. It is necessary to note an important pattern: despite assurances that the singing of the epic is inspired from above, there is also a line of inheritance - from father to son (as in this case), or from older brother to younger (for example, from Ali-Sher to Sagymbay). M. Auezov compared such inheritance with the continuity characteristic of the poets of Ancient Greece, as well as for the performers of the Karelian-Finnish runes and Russian storytellers of the Olonets province. In addition to the above-mentioned storytellers, Akylbek, Tynybek, Dikambay lived almost at the same time.
From the manaschi of the late 19th and early 20th centuries. two figures stand out. Sagymbay Orozbakov (1867–1930), who belonged to the Naryn school, was at first a ryrchi, performed at feasts and festivities, but, having seen, in his own words, a “significant dream”, he became a Jomokchu. From his words, the first complete record Manas- about 250 thousand poems (work began in 1922). His version of the epic is distinguished by large-scale battle scenes and vivid imagery. It is characteristic that the singer calls his first and last name in each cycle.
Sayakbay Karalaev (1894–1970), a representative of the Karakol school, knew by heart the entire epic trilogy, which includes Manas, Semetey, Seitek, an extremely rare fact. All parts of the epic were recorded from his words (work began in 1931). As S. Lipkin recalls, he performed Manas every time in a new way.
Among other manaschi worthy of mention: Isaak Shaibekov, Ibrai, Zhenizhok, Eshmambet, Natsmanbai, Soltobai, Esenaman.
Main epic heroes.
The image of the bogatyr Khan Manas - central image epic, all events and characters are grouped around it. Semetey, the son of Manas, and Seitek, the grandson of Manas, are those who are worthy of the glory of their fathers, who continue their exploits.
Of interest is the song about the childhood of Manas. Traditionally folklore, in terms of its artistic merits, it is one of the most valuable in the epic.
A childless couple prays fervently to heaven for a son. The spirits of the ancestors are also interested in his birth, and the prophet Muhammad left Aikhojo, his contemporary, and forty saints to wait for this event, so that they would protect the child (40 and 44 - sacred numbers in the Turkic epic).
Even in childhood, Manas becomes a hero, he recruits comrades-in-arms, who later become kyrk-choro, his forty faithful combatants. He protects his relatives and guards property and territory belonging to close families from enemy raids. He decides that in the future he must gather scattered tribes and restore the power of the Kirghiz.
Manas, like many heroes of the ancient Turkic epic, is invulnerable. This magical feature from the hero is transferred to his battle clothes, a silk olpok who does not take fire and who is not afraid of either an ax, or an arrow, or a cannonball. Only during the morning prayer, when the hero prays without weapons and combat attire, Konurbai, at the instigation of a traitor, was able to mortally wound Manas with a poisoned weapon.
The mention of the hero's religiosity is characteristic. No wonder there are versions of the epic in which Manas and some of his heroes go on a pilgrimage to Mecca.
Manas is not just an indispensable participant in all episodes Manas with the exception of Songs about the Cyclops, his image is revealed in the struggle, in clashes, in speeches and monologues, his appearance is described in detail. And if, according to the researcher, the hero's reactions - anger, joy or rage - are like a change of masks, then "these stylistic properties express the ideal of frozen grandeur, alien to dynamics, approved by repeated repetition, mechanical insertions in the same expressions" (M .Auezov).
The many-sided environment of Manas complements his image. Other figures are placed around him symmetrically and carefully - these are friends, advisers, servants, khans. The four wives of Manas, permitted by Sharia, embody the ideal of family happiness. Among them stands out the image of his beloved wife, perspicacious, determined and patient Kanykey. In this complex static picture, the owner's horse Akkula also takes its place (the names of the horses of all the major heroes are known).
The Chinese prince Almambet, the “blood brother” of Manas, is equal to him in skill, prowess and strength. During the campaign against Beijing, he commands the troops. In addition, he owns secret knowledge, for example, he knows how to speak the weather, etc., and therefore enters into action when it is impossible to defeat enemies with the help of strength and courage. Almambet is married to Aruuk, the most close friend Kanykey. The brothers experience all major life events together, get married at the same time, die together. The image of Almambet is tragic. Raised in the Muslim faith, he fights on the side of the Kyrgyz against his fellow tribesmen, but some Kyrgyz warriors do not trust him, and former tribesmen hate him. Religious duty for him is higher than other feelings, including consanguinity.
An important role in the epic is played by kyrk-choro, 40 warriors of Manas. The elder heroes Bakai and Koshoi are not only associates, but also constant advisers to Manas. They take care of his fame, well-being, make sure that nothing provokes the wrath of Manas. Among the other heroes are Chubak and Sfrgak, among the khans are Kokcho and Jamgyrchi. Every positive hero is remarkable for the fact that he renders a service to Manas or demonstrates loyalty to him.
Enemies (mostly Chinese and Kalmyks) set off the image of Manas in their own way. The most characteristic are the greedy and treacherous Konurbai from Beijin and the Kalmyk Joloy, a glutton, a giant endowed with extraordinary physical strength.
Content, plot schemes and main themes of the epic.
AT Manase easy to find archaic plot schemes characteristic of various national epics (the fight against monsters, one of the oldest epic characters, the giant Joloy, etc.). At the same time, Kanykei (heroic matchmaking for a warrior maiden) is presented, rather, not as an Amazon, but as a rebellious girl, for whom a huge dowry must be paid. Doesn't do magical feats main character, and the hero Almambet, with whom Manas fraternized (in such a replacement, the idea of \u200b\u200ba magical assistant was embodied). According to V.M. Zhirmunsky, the images of the epic sovereign and the most powerful hero merge in the image of Manas, which is unusually rare in the archaic epic. At the same time, Manas does not lose the features of a cultural hero, he frees the earth from monsters, gathers the Kyrgyz people. There are exaggerated descriptions of the appearance of the heroes, banquet treats, and hunting game. All of the above indicates the transition from the archaic to the historical-romantic type of epic.
The following topics can be singled out as the main ones: “The birth and childhood of Manas” (the elements of the miraculous occupy a considerable place here); "Cazaty" (campaigns, which are given the largest place in the epic); "Arrival of Almambet"; "Marriage to Kanykey"; "Wake for Koketey"; “Episode with kyozkomans” (relatives who feel envy and enmity towards Manas and exterminate each other); "The Tale of the Cyclops"; "Pilgrimage to Mecca" (in many respects similar to the Cossacks), "Conspiracy of the Seven Khans" (introduction to the "Long March", which tells about the temporary split among the subordinates of Manas). Each event, starting with the birth of Manas and ending with his marriage and the birth of his son, is marked by the device of a large "toi", accompanied by games.
In the version of Sagymbay Orozbakov, by agreement with the singer, the scribes broke the entire recorded text into separate cycles, or songs (there are ten in total). At the same time, each song, in fact, is a complete episode, therefore M. Auezov likens the work of this singer to the work of a kind of editor of ancient epic vaults, which combines and organizes the material that has come down to him.
Kazata.
Hikes (cazats) take in Manase main place. In Sagymbay Orozbakov one can find such conditional scheme: The Kirghiz lead a rich and happy life in their country, when, after a short break, there is a reason for a new campaign. The whole campaign is built according to a well-known scheme, although each specific performance is somewhat different from the other.
Kazats begin with gatherings: khans arrive with their warriors, heroes, leaders of clans, friends and constant associates of Manas. When describing the path, emphasis is placed on its difficulties (deserts, mountains, streams), the terrain, climate, flora and fauna are described in detail, and this is done with exaggeration and some fantastic elements. Animals acting as heralds of the enemy, people-sorcerers (ayars), doo-cyclops hinder the advance of troops. When it is not possible to defeat enemies in a fair fight with the help of strength and courage, as Manas's associates do, then Almambet, who owns witchcraft secrets, comes into play.
Opponents meet Manas with countless hordes. Before mass battles, fights take place in which minor heroes participate with varying success. Then the main duel begins, where Manas participates from the Kyrgyz, and some worthy khan from the enemies. Such a duel ends with the victory of Manas, and then the actual battle begins, where central figures are Manas, Almambet and kyrk-choro. After that, battles begin in the fortress or near the city walls. As an indispensable finale - bringing gifts to the winners by the vanquished. Trophies are shared, everything ends either in a truce when the infidels convert to Islam, or in the marriage (sometimes matchmaking) of Manas or his closest friends to his daughter former enemy. This is how the three wives of Manas were “acquired”.
Sayakbay Karalaev's "Chon-kazat" exhausts the theme of campaigns, in his version the event framework is expanded, and the number of cycles is less.
"Marriage to Kanykey".
Almambet believes that he does not yet have a worthy girlfriend. These wives are war trophies, and, according to tribal custom, one should also have a “legitimate” wife, who was taken in accordance with all the rules (her parents chose her, a dowry was paid for her). Therefore, Almambet insists that Manas get married.
Manas sends his father Bai-Dzhanyp to woo Kanykey, the daughter of Khan Temir. He, after a long search, finds the city where the bride lives. There should be a conspiracy with the promotion of mutual conditions. When the father of Manas returns, the hero himself sets off with gifts and retinue.
A solemn meeting follows, but Kanykei does not favor the groom. Manas breaks into the palace, beats the servants, insults the bride's retinue. He is seized with passion, to which the bride first responds with feigned coldness, and then wounds Manas with a dagger. The conflict was settled by the mother of the bride, but reconciliation did not come.
On the wedding night, Manas awaits the arrival of Kanykei until morning - this is how the bride takes revenge. Enraged Manas orders to exterminate Khan Temir, his daughter and the entire population of the city. He himself exterminates people and destroys the city. Defenseless and submissive Kanykei offers peace to Manas.
But the bride and forty of her friends are faced with the reciprocal pretense of Manas. He invites his friends to arrange races and take as a prize the girl whose horse stops at the yurt. The hero himself arrives last, when all the yurts, except for the one where Kanykei is located, are occupied. A new test follows: the blindfolded girls must choose a mate. The couples are the same. Now, at the suggestion of Kanykei, the men are blindfolded, but again the same couples are formed.
In all cases, Almambet and his fiancee Aruuke, who wants to marry a Kyrgyz, are offended. She calls the groom "Kalmyk" (foreigner), after magical transformation becomes a terrible black slave, and the horrified Almambet, not knowing that she is the daughter of Peri, always receives only her.
Manas, about to avenge the refusal of his brother, declares war. The girl agrees to marry.
"Wake for Koketei".
This theme is like a separate poem. Koketey, one of the hero's senior associates, bequeathed to his son to arrange a commemoration for himself (“ash”).
A messenger, traveling around various kingdoms, convenes guests, while threatening that those who do not come to the call will be defeated. Khans come to "ash" together with their troops, as if they are going on a campaign. In addition to friends, there are also opponents, for example, Joloy and Konurbay.
The last to appear is Manas, who was expected for many days, postponing the wake. The hero figured out Konurbay's plan, which he wanted to frighten the Kirghiz by taking away the horse from Bokmurun (meanwhile, they already wanted to give him a horse). Then Manas starts beating Konurbay's people. Frightened, he apologizes and gives the hero gifts.
Games and competitions follow. In archery at a gold ingot suspended on a pole, Manas wins. In other competitions, be it a wrestling or a tournament (each competition is the plot of a separate song), Manas and his choro are the winners. In the races, their horses come first. In the belt wrestling, the old man Koshoi wins, having defeated the giant Joloy.
In the end, they test whose horse will come first and tear down the banner of Koketey - this is a matter of honor and glory of the clan that put up the horse. During the competition, the horse is affected by the most different ways, and the enemy’s horses are killed and maimed, for which ambushes are arranged. In a similar way, Almambet slays Konurbai's horse, but he, having dealt with the organizers of the "ash", forcibly takes away the prize.
Enraged Manas rushes in pursuit of Konurbai, exterminates his people, and Konurbai himself flees. Joloy, who, upon returning, boasts to his wife of his valor and violence against the Kyrgyz, the heroes beat him right at his house.
Artistic features of the epic.
Orientalist V.V. Radlov argued that Manas not inferior in its artistic merit Iliad.
The epic is characterized by a rich imagery, a variety of stylistic coloring, while Manas absorbed the folk sayings accumulated by tradition, winged words, Proverbs and sayings.
Variants of all narrators differ in a single rhythm, the verse is seven-eight-syllable, there are consonant endings of verses, alliterations, assonances, and rhyme "figures as a final repetition of the same combinations - morphological and all others" (M. Auezov).
Foreign borrowings can be found, in particular, the influence of the Iranian book epic or Chagatai literature. Many motives coinciding with the motives Shahnameh(for example, Bai-Dzhanyp, the father of Manas, outlived his son, but died at the hands of his grandson), and in Tale of the Cyclops used "wandering" motifs, similar to Odyssey.
The characters of the characters are presented, for the most part, in actions or speeches, and not in the author's descriptions. A lot of space is devoted to the comic and funny. So, in “Wake for Coquetey”, the singer jokingly describes the refusal of the heroes European nations- British, Germans - from participation in the tournament. Jokes are also allowed against Manas.
Sometimes the verbal skirmishes are rude, and some of the paintings are naturalistic (which is lost in translation).
Pictures of nature are presented only as concrete pictures, and not as lyrical descriptions. At the same time, the style Manas sustained in heroic tones, while the style Semetey more lyrical.
Other parts of the epic trilogy.
The epic about Manas is, according to V.M. Zhirmunsky, a classic example of biographical and genealogical cyclization. The life and deeds of the protagonist unite the epic into a single whole, the links of which are also parts Semetey(the story of the son of Manas) and Seitek(narration about his grandson).
Semetey was fed by a female argali (mountain sheep). Subsequently, having matured, he gets himself a bride - the daughter of the Afghan Khan Ai-Churek (in Kyrgyz, “churek” means “chirok”, “female duck”), who becomes the faithful wife of the hero.
According to folk legend, Semetey and some other heroes of the epic did not die, but left people. They live in India, on the Aral Island, or in the Kara-Chungur cave. Together with the hero - his war horse, white gyrfalcon and faithful dog, who, like him, are immortal.
Parts of the epic trilogy, dedicated to the son and grandson of Manas, are largely brought to life by the great love of the people for central character epic.
Editions:
Manas. M., 1946
Manas. Episodes from the Kyrgyz folk epic. M., 1960.
Berenice Vesnina
Literature:
Auezov M. . - In the book: Auezov M. Thoughts from different years. Alma-Ata, 1959
Kyrgyz heroic epic"Manas". M., 1961
Kerimzhanova B. Semetey and Seitek. Frunze, 1961
Zhirmunsky V.M. Folk heroic epic. M. - L., 1962
Kydyrbaeva R.Z. Genesis of the epic "Manas". Frunze, Ilim, 1980
Bernshtam A.N. The era of the emergence of the Kyrgyz epic "Manas" // Encyclopedic phenomenon of the epic "Manas", Bishkek, 1995
As the most voluminous epic in the world.
Encyclopedic YouTube
1 / 3
✪ Ych muundun manas aytuusu
✪ Manas- Sayakbai Karalaev
✪ MANAS chynby zhalganby? Sheikh Chubak azhy
Subtitles
Parts and narrators
In addition, researchers recognize the most significant records of the part about Manas made from the storytellers Togolok Moldo (1860-1942), Moldobasan Musulmankulov (1884-1961), Shapak Rysmendeev (1863-1956), Bagysh Sazanov (1878-1958), Ibraim Abdyrakhmanov ( 1888-1960), Mambet Chokmorov (1896-1973)
The most famous Xinjiang storyteller Jyusyup Mamai (Kyrgyz.) Russian(Jusup Mamai) - his version of the 8 parts of the epic occupies about 200 thousand lines and was published in 18 volumes in Urumqi (1984-1995).
For a comparative assessment of the volume of epics, it is important to keep in mind poetic size: basically, “Manas” is composed of 7- and 8-complex syllabic verses, however, in Sagymbay Orozbakov’s version, there are 4-, 5-, and 6-complex verses that are close to rhymed prose, and in Sayakbai Karalaev’s version, there are more lines from 9-complex up to 12-complex.
The history of the epic
Tradition traces the emergence of the epic to the legendary era, calling the first performer the comrade-in-arms of Manas himself - Yrchi-uul, the son of Yraman, who sang the hero's exploits at his funeral; the songs-weepings that existed separately among the people were combined into one epic legendary singer Toktogul (the Kyrgyz of the first half of the 20th century believed that he lived 500 years ago). Other storytellers are also known in tradition, as well as the names of many manaschi of the 19th century, whose work has not been recorded.
Modern scientists have not come to a consensus about the time of the epic. Hypotheses were put forward that its basis is connected with the events of the history of the Kirghiz of the 9th century. V. M. Zhirmunsky believed that the historical background of the work as a whole corresponds to the conditions of the 15th-18th centuries, although it contains more ancient ideas.
The first mention of the epic dates back to the 16th century. They are contained in the semi-fantastic work Majmu at-Tawarikh, where Manas is shown as historical person acting together with the real Tokhtamysh, Khorezmshah Muhammad, etc.
The English historian Arthur Thomas Hatto believes that Manas was
After the death of the Kyrgyz Khan Nogoi, the old enemies of the Kyrgyz, the Chinese, taking advantage of the indecision of his successors, seized the lands of the Kyrgyz and forced them out of Ala-Too. The descendants of Nogoi are expelled to distant lands. The rest fall under the cruel oppression of the invaders. Younger son Nogoya Zhakyp is expelled to the Altai, and for many years he is forced to serve the Altai Kalmaks. Being engaged in arable farming and working in gold mines, he was able to get rich. In adulthood, Zhakyp becomes the owner of an incalculable number of cattle, but his soul is gnawing at the fact that fate did not give a single heir. He is sad and prays to the Almighty for mercy, visits holy places and makes sacrifices. Finally, after a wonderful dream, his elder wife conceived a child, nine months later she gave birth to a boy. On the same day, a foal is born in Zhakyp's herd, which he destines for his newborn son.
Zhakyp arranges a big feast to celebrate and calls the boy Manas. From childhood, unusual qualities appear in him, he differs from all his peers in extraordinary physical strength, mischief and generosity. The fame of him spreads far beyond Altai. The Kalmaks living in Altai are in a hurry to tell the Chinese Khan Esenkan the news that the rebellious Kirghiz have a batyr, who, while he has not yet matured, should be captured and destroyed. Esenkan sends his scouts disguised as merchants to the Kirghiz and gives him the task of capturing Manas. They find the young hero while playing ordo and try to capture him. Manas, together with his peers, captures scouts, distributes all the goods of the caravan to ordinary people.
Thousands of troops of the Kalmak hero Neskara are sent against the Kirghiz. Putting it all together neighboring nations and tribes, Manas opposes Neskara, and wins a brilliant victory over his army. Having appreciated the merits of the young hero, seeing him as their intercessor, many Kyrgyz clans, as well as neighboring tribes of the Manchus and Kalmaks, decide to unite under his command. Manas is elected khan.
Manas enters into an unequal battle with the Uyghurs and wins. In this battle, Batyr Koshoy, the khan of the Kirghiz tribe of Katagans, renders invaluable help to him. One of the defeated Uighur rulers, Kaiypdan, gives Manas his daughter Karaberyk, who herself expresses her desire to become the wife of a batyr.
At the suggestion of Koshoy, Manas decides to return to the people the native lands of Ala-Too, captured by the opponents of the Kirghiz. Having gathered an army, he enters the battle and wins. The Kyrgyz decide to migrate from Altai to their ancestral lands. Manas with his clan is located near the sacred black mountains of Aziret.
The old enemy of the Kirghiz - the Chinese Khan Alooke, decides to stop the expansion of the Kirghiz and begins to prepare for the campaign. Upon learning of this, Manas urgently goes on a campaign with his forty warriors. He easily disperses the army of enemies and captures the headquarters of Khan Alooke. Seeing the determination and courage of the hero Manas, Alooke decides to make peace with the Kirghiz and, in recognition of his humility, gives Manas his son Booke.
At this time, on the southern borders, the confrontation between the Kyrgyz clans and the Afghan Khan Shoruk intensified. Gathering an army, Manas enters the battle. The defeated Afghan ruler enters into a diplomatic marriage alliance with the Kirghiz, giving his daughter Akylai to Manas and sending her forty servants along with her.
A separate plot branch of the epic tells the story of the hero Almambet. It covers events from the moment of his birth to his coming to Manas. Almambet's father Sooronduk was one of the major Chinese commanders. For a long time he was childless, and, having reached middle age finally finds a son. Almambet comprehends science from childhood, masters the art of magic and witchcraft, studies at the school "Teaching about the Dragon" (in the Kyrgyz language "Azhydaardyn okuusu"), children from noble families study with him, but it turns out to be the best among them in learning, and later grows up into a brave warrior. Reasonableness, honesty, courage make him famous. At a young age, Almambet becomes the successor of his father, leading all the troops of the Chinese army. One day, while hunting, he meets Khan Kekcho, who calls him to the light and leave witchcraft. Returning home, Almambet calls on his relatives to convert to a new faith. Neither parents nor relatives even want to listen to Almambet. Sooronduk orders the arrest of his son, who renounced the "faith of his ancestors." Having escaped from the Chinese, Almambet takes refuge at Kekcho. The generosity, reasonableness and justice of Almambet contribute to strengthening his fame. But the horsemen of Khan Kokcho are jealous of the new close associate of their ruler. They start up a false rumor about the proximity of Almambet and the wife of Khan Kekche Akerchek. Unable to bear the slander, Almambet leaves Kokcho.
And so the hero accidentally meets Manas, who went hunting with his forty horsemen. Manas has long heard about Almambet and therefore meets him with honors, arranges a feast in his honor. Manas and Almambet become brothers.
And since Manas married Akylai and Karaberyk in order to make peace, the hero asks his father Zhakyp to find a wife for him. After a long search, Zhakyp arrives at Khan Atemir in Bukhara, where he liked the daughter of Khan Sanirabig. Zhakyp wooed her, paid a rich ransom-kalym, and Manas, according to all the rules, took Sanirabigu as his wife. The Kirghiz call the wife of Manas the name Kanykey, which means "married to the khan." Forty zhigits of Manas marry forty girls who came with Kanykey. Almambet marries the daughter of the patron saint of wild mountain animals, Aruuke.
Having learned about Manas, relatives who were in exile far to the north decide to return to him. These are the children of Zhakyp's elder brother - Usen, who lived for many years among a foreign people, took wives from Kalmaks and forgot the customs and customs of their ancestors. Among the Kalmaks they were called Kezkamans.
At this time, Manas is forced to go to the aid of the batyr Koshoy. The Afghan Khan Tulkyu, taking advantage of the absence of Koshoy, raids the Katagan tribe and kills the son of the Kirghiz hero. But younger brother Tulkyu, Akun, decides to avoid bloodshed and settles the feud between the Kirghiz and the Afghans. Tulkyu pleads guilty, pays a ransom for the murder of his son Koshoy and cedes his throne to Akun. Manas and Akun conclude a friendship agreement and agree that their children, if they have a boy and a girl, will be engaged. In addition, the son of the Kirghiz Khan Kyokotey (who settled in Tashkent after the expulsion of Panus), Bokmurun expresses a desire to marry the daughter of Tulkyu named Kanyshay. On the advice of Manas, Bakai goes with the matchmaking to Tulkyu and performs all the prescribed rites.
During the absence of Manas, the Kyozkamans arrive. Kanykei gladly greets her husband's relatives, presents them, as usual, with everything necessary for housekeeping. Returning from the campaign, Manas arranges a feast in honor of his relatives. He gives them land, cattle and various utensils. Despite such a warm welcome, the envious Kezkamans conspire against Manas. They decide to poison the batyr, take the throne and take possession of all the property of Manas. The Kyozkamans find a convenient time to lure the batyr and his retinue to visit. Returning after the next campaign, Manas gladly accepted the invitation. Poison is mixed into the food of the batyr and his warriors. The surviving Manas soldered all his combatants and returned to headquarters. Kezkamans are looking for those responsible for the failure, a quarrel breaks out between them, they all use knives and die.
The glorious Kirghiz Khan Kyokotey, having reached old age, leaves the white light. Leaving his son Bokmurun a will with instructions on how to perform a burial and how to arrange all posthumous rites, he also bequeathed to seek advice from Manas. After burying Kyokotey, Bokmurun has been preparing for three years to arrange a feast. Manas takes over the entire management of the feast of Kyokotey. Numerous guests from the most distant countries. Bokmurun puts up rich prizes for the winners of various competitions. A number of Kyrgyz elders and khans of individual clans express dissatisfaction with the fact that Manas single-handedly manages the feast. They gather a council and decide to openly state their demands. But the conspirators are pacified by the elder Koshoi. He persuades them not to start quarrels in front of numerous guests, among whom there are old enemies of the Kirghiz, and promises the conspirators to pacify Manas after the feast.
A year later, the conspirators demand from Koshoy that he lead their embassy to Manas and help them remove the wayward ruler. Koshoy, citing his age, refuses to be led by the conspirators. Then they decide to send messengers to Manas to notify that all the noble heads of the Kirghiz clans are going to visit him as guests. Their plan was to come to Manas with a large group, force him to make some mistake in the ritual of hospitality, start a quarrel and then put forward demands to renounce the title of khan. Manas agrees to receive noble guests with all their numerous retinue. Arriving guests are greeted by forty warriors and all the arrivals are accommodated in their yurt and villages. Seeing such a unity of the combatants and making sure of the steadfastness of the power of Manas, the Kyrgyz khans understand that they are in an awkward situation. When asked by Manas about the purpose of their arrival, no one dares to answer anything intelligible. Then Manas informs them that the news of a campaign being prepared against the Kirghiz has reached him. The Chinese khan Konurbai, holding a grudge for previous defeats, gathers an army of many thousands in order to subjugate the Kirghiz again. Manas calls on the Kirghiz khans to preempt the enemy and go on a campaign themselves, with the combined forces to defeat the enemy on his territory and stop all attempts to conquer the Kirghiz. The khans are forced to accept Manas' proposal. Bakai is elected Khan of all the Kirghiz for the period of the great campaign, and Almambet becomes the chief commander of the Kirghiz army. He leads them to the capital of the Chinese, Beijing.
After a long and difficult journey, the Kyrgyz army reaches the borders of the Chinese state. Leaving the army on a halt, Almambet, Syrgak, Chubak and Manas set off for reconnaissance. Having penetrated deep into the territory of the enemy, they steal numerous herds. Chinese detachments rush in pursuit of the hijackers. A battle ensues, the Kirghiz manage to smash and disperse the many thousands of enemy troops. According to the epic, Manas with his army (Tyumen) captures Beijing (“Beezhin” is translated from the Kyrgyz language as “bad mare”) and rules for six months. The Chinese pay tribute to them and declare their desire to make peace. Manas generously decides to spare Konurbay and the rest of the Chinese nobles. But Konurbay could not accept defeat and one by one kills the best Kyrgyz batyrs. Almambet, Chubak and Syrgak perish. Having secretly penetrated into the battle headquarters of Manas, Konurbai inflicts a mortal wound on the hero, hitting him in the back with a spear, when the unarmed batyr committed morning prayer Bagimdat prayer. Returning to his homeland, Manas cannot recover from his wound and dies. Kanykei buries the hero in a kumbez. The tragic ending of the first part of the trilogy achieves realistic authenticity. Manas' dying testament speaks of tribal strife, the weakening of the power of the Kyrgyz people united by Manas. The birth of the son of Manas - Semetey already predetermines the revenge for the defeat of his father in the future. Thus arose the second poem, ideologically and plotly connected with the first part, dedicated to the biography and exploits of the son of Manas Semetey and his associates, who repeat the heroism of their fathers and achieve victory over foreign invaders.
Less than forty days after the death of Manas, Zhakyp begins to demand that Kanykey be given as a wife to one of Manas' half-brothers. Manas is replaced by his half-brother Kobesh, who oppresses Kanykei and seeks to destroy the baby Semetey. Kanykei is forced to flee with the baby to her relatives. Semetey grows, not knowing about his origin. Having reached the age of sixteen, he learns that he is the son of Manas and expresses a desire to return to his people. He returns to Talas, where his father's headquarters was located. The enemies of Manas, among whom were the half-brothers Abyke and Kobesh, as well as the warriors who betrayed him, die at the hands of Semetey. Batyr marries Aichurek, with whom he was engaged before birth, according to the promise of Manas. He raids Chinese territory and kills Konurbai in single combat, avenging him for the death of his father. Semetey is betrayed by Kanchoro, who has entered into an agreement with the enemy Kyyas. Having received a mortal wound from Kyyas, Semetey suddenly disappears. His devoted comrade-in-arms Kyulchoro is captured, and Aichurek becomes the prey of enemies. The traitor Kanchoro becomes Khan. Aichurek is expecting Semetey's child, but no one knows about it.
The heroic poem "Semetey" is the most frequently performed cycle of the trilogy. Courageous Heroes poems also become victims of injustice, but the perpetrators of their death are not foreign invaders, but internal enemies.
The third part of "Manas" - "Seytek" is devoted to the epic story about the struggle against internal enemies. It tells about the bogatyr Seitek, the grandson of Manas, and is a logical continuation of the previous parts. In this part, there is the same ideological basis associated with the desire to preserve the unity of the people, get rid of external and internal enemies and achieve a peaceful life. The plot basis of the Seitek epic is the following events: the upbringing of Seitek in the camp of the enemies of his father, who does not know about his origin, Seitek's maturation and the disclosure of the secret of his origin, the expulsion of enemies and the return of Semetey to his people, the unification of the people and the onset of peaceful life. The images of Semetey and Seitek reflect the desire of the people to preserve the legends about Manas in the heroic life of his descendants.
Manasology
1000th anniversary of the epic
In 1994, the UN General Assembly adopted a resolution on worldwide celebration 1000th anniversary of the Manas epic. The celebration took place in 1995. The main celebrations were held in Talas. On the occasion of the anniversary, a commemorative gold order "Manas-1000 " and a memorable gold medal were established.
Influence
In philately
- Stamps
Ministry of Education and Science of the Kyrgyz Republic
Kyrgyz State Technical University
them. I. Razzakova
Energy Faculty
Department of Philosophy and Social Sciences
The culture of the Kyrgyz in the epic "Manas"
Completed by: Zhunusbekov A.Zh.
student of group NVIE-1-08
Checked by: Bakchiev T.A.
Bishkek 2010
epos manas kyrgyz tradition
Introduction
Culture of the Kyrgyz in the Epos "Manas"
1 Marriage
2 Wake
3 Funeral
Conclusion
Introduction
huge role in cultural life Oral creativity was played by the Kyrgyz, the shining peak of which should be considered the world-famous "ocean-like" epic "Manas". In terms of its volume and breadth of coverage of life phenomena, "Manas" has no equal among other epic monuments of the world. It has great literary significance and is listed in the UNESCO database as one of the greatest creations of mankind.
Probably, oral poetry was familiar to the ancestors of the Kyrgyz from the 3rd century BC. BC e., when the term "Kyrgyz" became known thanks to the Chinese written sources. Since then, the folklore of the Kyrgyz has gradually formed and developed. A thousand years later, the Manas epic has not lost its relevance. There are theatrical performances, manaschi competitions are held. Best Options epic published, although so far it has not yet been published in full. But the most important meaning of the Epos "Manas" is that it contains information about the culture of the Kyrgyz, i.e. about life, traditions, rituals, philosophy, language, diplomacy, military affairs, folk pedagogy and many other aspects of the life of the Kyrgyz people. Having existed for centuries in the mouths of the people, the epic, like a mirror, reflects the culture, life, customs of the Kyrgyz, covering several centuries in its context.
1. The culture of the Kyrgyz in the epic "Manas"
"But we are sure that as long as the century is replaced by the century, as long as the epoch follows the epoch, as long as the Kyrgyz people (and all mankind!), the Manas epic will live as a shining pinnacle of the daring ancient Kyrgyz spirit..." - Chingiz Aitmatov, "Shining the pinnacle of the ancient Kyrgyz spirit"
As mentioned earlier, the Manas epic is of great importance, but it cannot be called simply an epic, because the term "epos" cannot reflect its full meaning and meaning for the Kyrgyz people.
Touching the epic "Manas" is a touch to Eternity, to God, because "Manas" for many centuries has been a deep expression for the Kyrgyz people national consciousness, the highest measure of spirituality, an invaluable monument of culture. This is a grandiose epic that tells about the deeds of three generations of heroes: Manas, his son Semetey and grandson Seitek. Developing over centuries, it reflected the culture, life, customs, history, ethnography, psychology and customs of the people in a vivid artistic form and absorbed many genres of Kyrgyz folklore.
Due to the fact that the epic describes the whole life of Manas from birth, including the genealogy, until his death and the birth of his son and grandson, we can see the culture of the Kyrgyz for several generations.
For example, in terms of material culture, types of dwellings, various clothing, horse equipment, food, etc. are of interest. The message of the epic on military affairs, weapons and combat clothing deserves special attention. "Manas" contains extensive information on spiritual culture, folk knowledge (especially folk medicine), myths, religious beliefs, folk games and entertainment, musical instruments, etc.
So, the epic tells about three world religions, including the Nestorian Christians, who are called Tarsa. Among the game data reported by Manas, kuresh wrestling and martial arts deserve attention. In the epic, we have identified information about about 20 different musical instruments.
1 Marriage
An episode of the epic dedicated to the courtship of Manas and his marriage to Kanykey arouses quite justified interest. On the advice of his friend Almambet, Manas, who already has two wives: Karaberk and Akylai, decides to marry according to the rite and turns to his parents with a request to marry him a good girl. At the same time, Manas points out that he conquered Karaberk, and Akylai got him as a hostage. The previous episodes of the epic describe how, having defeated the Kalmyk Khan Kaiyp, Manas is captivated by the beauty of Karaberk, one of the thirty daughters of the Khan, who wanted to avenge Manas for the death of her father and kill him. Upon learning that her father was still alive, Karaberk dismounted from her horse and bowed to the ground to Manas. On the occasion of the wedding of Manas and Karaberk, a 30-day feast was arranged.
Defeated by the troops of Manas, the Afghan Khan Shooruk sent Manas as a sign of obedience to 30 hostage girls, led by his daughter Akylai. Manas brought the girls into the middle of the circle of his warriors and invited them to choose those jigits that they liked. Akylai came out first and chose Manas as her husband.
At the request of Manas, his father Dzhakyp went to look for a bride for him. Having traveled to many countries and not finding a suitable girl, Dzhakyp arrived in the country of Tajiks. Having appreciated the qualities of the daughter of the Tajik ruler Atemir Khan - Sanirabiyga, Dzhakyp wooes the girl and, agreeing with the unprecedented size of the kalym established by her father, returns back. After the people gathered the cattle to pay the kalym, Manas, accompanied by 12,000 horsemen and 40,000 troops, went with his father to the country of the Tajiks. Having camped near the city, Manas enters the house where Sanirabiyga sleeps. During this first meeting with the bride, Manas quarreled with her. She slashed his dagger on the arm, and he gave her a kick with his foot, and she fell unconscious. Angered by the impregnability of the khan's daughter, Manas struck the war drum, but his father and wise old people stop the army.
Invited to the wedding feast, Manas sat alone for two days in the yurt set aside for him, since not one of the attending women dared to enter him because of his formidable appearance. In anger, Manas decides to destroy the city of Atemir Khan. To tame the wrath of Manas, Sanirabiyga, as a sign of peace, goes to the dais and throws her white scarf into the wind. Taking all the blame for the quarrel, Sanirabiiga approached Manas and took his horse by the bridle. Having become the bride of Manas, Sanirabiiga changes her name and takes the name of Kanykey. The ceremony of chachyl is performed - Sprinkling the bride and groom with sweets. Forty knights of Manas are discussing which of them should marry which girl. At the suggestion of Manas, horse races are organized. The girl who is in the yurt, near which the batyr's horse stops, must belong to the owner of the horse. Almambet's horse was the first to come - he stopped at the yurt of the beautiful Aruuke - Kanykei's sister. Manas' horse was the last to gallop. Kanykei came out, took the reins of his horse and led him into her yurt. After a feast arranged by Manas and Kanykei for batyrs and girls, in order to prevent possible disagreements between them, Manas sends boys and girls to their former places that night. The next morning, Manas blindfolded the girls and said that the girls would belong to those horsemen whom their hands touched. Blindfolded, the girls chose the same batyrs who had galloped to their yurts the day before. The wedding fun and games continued for 30 days and 30 nights, after which Manas with Kanykey, Almambet and 40 knights with their wives returned to their villages.
1.2 Wake
Another interesting fact reflection of culture is the episode of the wake of Kokotey.
On the advice of Manas, Bokmurun, the young adopted son of one of the faithful companions of Manas - the Tashkent Khan Koketei, arranges for the latter a magnificent funeral, and after two years - an even more grandiose feast. The valley of Karkyra was chosen as a place for the feast, where Bokmurun resettled all his people. The epic colorfully describes the movement of a huge caravan, whose head was separated from the tail, at a distance of three days' journey. Arriving at the place of the feast, Bokmurun begins to prepare for it and sends the mighty hero Dzhash-Aidar to inform all nations about the death of his father and invite them to the feast - ash. The ambassador is ordered to announce huge prizes for the winning horses and warn those who refuse to come that they will face severe retribution for the insult inflicted by the refusal. The congress of guests began. Manas arrives last. Trizna opens with large horse races, in which about a thousand of the best horses participate. After the riders moved to the start, the rest of the people began to feast and treat themselves to meat. There are many different competitions. The first was shooting with the aim of knocking down an ingot of gold suspended from a high pole - jambs. Then the foot struggle of the Kirghiz hero Koshoy with the Kalmyk Khan Joloi. After the announced and not held struggle of the bald people and the competition in unleashing the camel, a duel takes place on horses with peaks (sayysh), in which the Kalmyk hero Kongurbai and Manas himself take part. This is followed by a fight on horseback, the purpose of which is to pull and throw the enemy off the saddle. The entertainment ends with the finals of the races and the distribution of prizes to the winners. An attempt by the Kalmyks to forcibly take away the prizes received causes a general battle, ending with the victory of the Kirghiz.
1.3 Funeral
In the epic we can see how the burials took place, for example, the plots about the burial of Manas can serve. For the construction of a grave structure (gumbez-mausoleum), part of the building material is mined outside the homeland of the deceased hero.
Kanykei, the wife of Manas, sends a caravan of 800 male camels in search of clay. The caravan traveled many places, they searched in Andijan, Namangan, but clay was found only on Mount Kulba. When the caravan arrived back, the wife of the deceased ordered the clay to be immersed in vats and mixed with the wool of cows and goats, and she forced sixty strongmen to mix the clay with lard. Bricks are knocked down on melted lard. So Kanykei prepared the material for the erection of the grave structure. The purpose of building a tomb structure in the Altai and Kyrgyz legends is clear: to perpetuate the name of outstanding heroes.
However, Kanykei did not bury Manas in a gumbez. She buried him secretly, at night, in a carefully carved room in the rock, so that enemy thieves would not rob the grave and desecrate the body of the deceased. At her request, the wise old man Bakai carved a statue from a poplar trunk - a wooden counterpart of Manas. He covered it with skin, dressed it in a shroud, put it on tabyt, and then people covered the statue with a white-woven felt mat. Was committed funeral rite, a lot of people were called. Among those invited were people from tribes hostile to the Kyrgyz. They behaved impudently and defiantly, arranged quarrels, brawls. But, despite all this, the organizers of the commemoration for several days treated all the arrivals in general in the same way, which speaks of the hospitality of the Kyrgyz. All the gifts were distributed, the debts of Manas were returned to the people.
As soon as they finished the deceitful funeral rite, enemy thieves appeared. The wife of the deceased gave them worthy attention: she gave them gifts and gave away the statue. Thieves "did not see the deception." They brought the idol to the mound and lowered it to the bottom of the pit. So the thieves themselves made sure that there was nothing to steal from Manas. This is also an example of a bright reflection in Kyrgyz epic"Manas" of a classical cenotaph burial.
From all that has been traced, it follows that the archaeological and ethnographic data coincide with the information of the epic about funeral rite and all this is still preserved in the memory of the people.
Conclusion
In conclusion, I want to say that the significance of the epic is enormous, in addition to historical and literary significance, the epic is proof of the antiquity of the Kyrgyz culture and its richness.
The customs I have outlined (marriage, commemoration and funeral) are only a small part of what the Kyrgyz culture has, and what is described in the epic.
But I believe that the epic is not given due attention, even the fact that the epic was not published in its entirety proves this. All versions of the epic must be printed in full and on different languages so that the whole world knows about the Epic "Manas", like, for example, the English epic about Robin Hood.
The epic is saturated with patriotism, unity, courage. Reading it, you feel a sense of pride for your people. And every person who considers himself a KYRGYZ should read it.
It is not for nothing that the Manas epic is alive in the hearts of the Kyrgyz people, having passed the test of time. Need to save and restore cultural values past, because it is our culture that distinguishes us as a separate nation. In general, the epic "Manas" should become the ideology of the Kyrgyz, which will ensure the integrity and prosperity of Kyrgyzstan.
List of used literature
1. Abramzon S.M. "Kyrgyz and their ethnogenetic, historical and cultural ties" L.: Nauka, 1971
2. Original version: // The epic "Manas" as a historical and ethnographic source. Abstracts of the international scientific symposium dedicated to the 1000th anniversary of the Manas epic. - Bishkek, 1995. - S. 9-11
3. www.literatura.kg
4. www.wellcome.kg
5. www.google.kg
Tutoring
Need help learning a topic?
Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.
The Kyrgyz people have gone through a long and difficult path of historical development and formation. The Kyrgyz ethnic group at one time was lucky enough to create its own script, where it manifested itself folk spirit, reflected the pinnacle of the state national association in the form of the Kyrgyz great power. But history turned out to be ruthless to such high achievements of our people. Subsequent historical events, which led to the defeat of the Kyrgyz Kaganate and the destruction of most of the population, caused the loss of the original writing of the Kyrgyz people in antiquity.
It seemed that such a people had to leave the historical arena, go into oblivion, becoming one of the numerous ethnic groups that have ceased to exist, have lost their historical and genetic memory.
But contrary to such a traditional course of things, the Kyrgyz people were endowed with a unique gift - to transmit exclusively orally the experience accumulated by previous generations. Word-of-mouth transmission has proven to be not only viable and sustainable, but surprisingly fruitful and effective. It was the oral folk art of the Kyrgyz that revealed the world treasury of intangible cultural heritage the brightest example unique folklore works represented by a wide variety of genres. The monumental epic "Manas" rightfully became the pinnacle of this creativity.
The epic "Manas" ("Manas. Semetey. Seitek") has a thousand-year history, is a trilogy. The work is built on the principle of genealogical cyclization, which has developed into a single heroic epic not just a family saga, but the finest poetic narrative about the life and struggle of the nomadic Kyrgyz people for independence, the establishment of their statehood, the peculiarities of the worldview, existence, culture, education and all other aspects of life.
In the history of world literature, epics were completed only under the conditions of the established political, economic and ideological statehood, which the Kyrgyz ethnos had in ancient times. The proof of this is that the epics of other Siberian peoples, with whom the Kyrgyz lived in direct interaction, did not reach the level of epic generalization, precisely because of their lack of an established state system. The epics of these peoples remained at the stage of separate legends, not connected by a single storyline and the main character.
In this sense, the Manas epic is a unique product of the spiritual activity of the Kyrgyz people. Its uniqueness lies in its viability, in the way of conveying the entire set of elements, starting from the plot and figurative system characters to detail. And also in the ability, up to the present day, to continuously reproduce the reproduction of valuable knowledge and traditions embedded in the legend.
The narration of the epic includes all aspects of the life of the Kyrgyz people, their worldview, ideas about the world around them. It reflects the heroic and tragic history of the people, defining the stages of its development. Accurate drawings provided. ethnic composition both the Kyrgyz people and other ethnic groups who lived with them in close contact. The epic provides us with the richest idea of the economy, life, customs, relations with environment. From it we get the idea of the ancient Kyrgyz about geography, religion, medicine, philosophy, ethics and aesthetics. The epic "Manas", according to the exact definition of Ch.Valikhanov, is indeed an encyclopedia of all aspects of the life of the Kyrgyz people.
In addition, "Manas" shows us an unsurpassed artistic level of mastery of the word, which was created by the people over a long period, passed down from century to century, from generation to generation, absorbing ever new storylines, layering with new ideological layers, but, with this, miraculously preserving the unchanging and imperishable content of the epic. The main idea of the Manas epic, which unites it into a single whole, is the struggle of the people for their independence. This goal was preserved and led through all the troubles, hardships, preserving the very spirit of the people, their faith in the best, preserving the very genotype of the Kyrgyz. This fact gives us the right to believe that the epic contains the most important ideological component of the self-identification of the Kyrgyz people.
The epic Manas, due to its epic scope, has reached a volume that exceeds all known epics of the world. Transmitted by archaic epic verse (short syllabic verse, seven or eight syllables, with emphasis on the last syllable) and, unlike most Turkic verses, entirely poetic.
The oral existence of the epic for many centuries was under the threat of extinction with the advent of civilization, which violated the traditional way of life of the nomadic Kyrgyz people. The written fixation of the epic turned out to be vital and extremely necessary in order to transfer the oral tale to paper and give it a second life, already in the form of a book. In the middle of the 19th century, this important step was taken by two scientists - Ch. Valikhanov and V. Radlov. They recorded episodes of the epic for the first time. From this moment, a new page in the existence of the Manas epic begins, which marked the beginning of the period of its deep scientific research.
The study of the epic can be conditionally divided into three stages. The first is pre-revolutionary, which marked the beginning of the recording and study of the epic. The second is post-revolutionary, which laid the fundamental foundations of Manas studies. This period turned out to be the most tragic - almost everyone who was somehow involved in the research and promotion of Manas was subjected to repression during the period of Soviet totalitarianism. Among these outstanding figures of science were K. Tynystanov and E. Polivanov. The most important contribution to the science of the epic was made by T. Zholdoshev, T. Baidzhiev, Z. Bektenov, K. Rakhmatullin. In the formation of the science of "Manas" great merit belongs to the largest scientists V. Zhirmunsky, M. Auezov, B. Yunusaliev, A. Bernshtam, P. Berkov, S. Abramzon, folklorists - M. Bogdanova, A. Petrosyan and many others.
AT Soviet time started active work epic recording. The beginning of this work was laid by the teacher Kayum Miftakov, who in 1922 began to write down the version of Sagymbay Orozbakov. This work was continued by Ybraim Abdrakhmanov, who carried out a grandiose work in its scope on the written fixation of "Manas" from various storytellers. His efforts in ordering and storing these manuscripts are invaluable.
Currently, there are 35 recorded versions of the epic "Manas", they differ in the degree of their completeness. To complete options include those texts that were recorded from the storytellers S. Orozbakov, S. Karalaev, Sh. Yrysmendeev, Togolok Moldo, B. Sazanov, M. Muslimkulov, Y. Abdrakhmanov, M. Chokmorov. Despite the many options, Manas is single work, which is sealed by a common ideological orientation, integrity storyline, themes and heroic images.
AT modern conditions The epic is becoming increasingly important, being an ideological unifying factor of Kyrgyz identity and independence in the post-Soviet era, in an increasingly globalized world. The opening of the monument to Manas on the central square of Ala-Too and the adoption of the Law on the epic "Manas" on June 28, 2011 are evidence of the ideological unity of the people for the purpose of its development and prosperity.
The history of the epic
The first mention of the epic dates back to the 16th century. They are contained in the semi-fantastic work Majmu at-Tawarikh, where Manas is shown as a historical person acting together with the real-life Tokhtamysh, Khorezmshah Muhammad, etc. Scientific research The epic began in the 19th century by Ch. Valikhanov and V. Radlov. Fully recording of the texts of the trilogy "Manas" was carried out from 1920 to 1971. Among the translators of the epic into Russian are S. Lipkin, L. Penkovsky, M. Tarlovsky and others. The English historian Arthur Thomas Hatto believes that Manas was
The epic is divided into 3 parts: actually "Manas", "Semetey" and "Seitek". The main content of the epic is the exploits of the hero Manas.
After the death of the Kyrgyz Khan Nogoi, the old enemies of the Kyrgyz, the Chinese, taking advantage of the indecisiveness of his successors, seized the lands of the Kyrgyz and forced them out of Ala-Too. The descendants of Nogoi are expelled to distant lands. The rest fall under the cruel oppression of the invaders. The younger son of Nogoy Zhakyp is expelled to the Altai, and for many years he is forced to serve the Altai Kalmaks. Being engaged in arable farming and working in gold mines, he manages to get rich. In adulthood, Zhakyp becomes the owner of an incalculable number of cattle, but his soul is gnawing at the fact that fate did not give a single heir. He is sad and prays to the Almighty for mercy, visits holy places and makes sacrifices. Finally, after a wonderful dream, his elder wife conceived a child, nine months later she gave birth to a boy. On the same day, a foal is born in Zhakyp's herd, which he destines for his newborn son.
Birth of Manas on the postal series of Kyrgyzstan
Zhakyp arranges a big feast to celebrate and calls the boy Manas. From childhood, unusual qualities appear in him, he differs from all his peers in extraordinary physical strength, mischief and generosity. The fame of him spreads far beyond Altai. The Kalmaks living in Altai are in a hurry to tell the Chinese Khan Esenkan the news that the recalcitrant Kyrgyz have a batyr, who, while he has not yet matured, should be captured and destroyed. Esenkan sends his spies disguised as merchants to the Kyrgyz and gives the task to capture Manas. They find the young hero while playing ordo and try to capture him. Manas, together with his peers, captures scouts, distributes all the goods of the caravan to ordinary people.
Manas enters into an unequal battle with the Uyghurs and wins. In this battle, Batyr Koshoy, Khan of the Kyrgyz tribe of Katagans, provides him with invaluable help. One of the defeated Uighur rulers, Kaiypdan, gives Manas his daughter Karaberyk, who herself expresses her desire to become the wife of a batyr.
At the suggestion of Koshoy, Manas decides to return to the people the native lands of Ala-Too, captured by the opponents of the Kyrgyz. Having gathered an army, he enters the battle and wins. The Kyrgyz decide to migrate from Altai to their ancestral lands. Manas with his clan is located near the sacred black mountains of Aziret.
The old enemy of the Kyrgyz - the Chinese Khan Alooke, decides to stop the expansion of the Kyrgyz and begins to prepare for the campaign. Upon learning of this, Manas urgently goes on a campaign with his forty warriors. He easily disperses the army of enemies and captures the headquarters of Khan Alooke. Seeing the determination and courage of the hero Manas, Alooke decides to make peace with the Kyrgyz and, in recognition of his humility, gives Manas his son Booke.
At this time, on the southern borders, the confrontation between the Kyrgyz clans and the Afghan Khan Shoruk intensified. Gathering an army, Manas enters the battle. The defeated Afghan ruler enters into a diplomatic marriage alliance with the Kyrgyz, giving his daughter Akylai to Manas and sending her forty servants along with her.
Bogatyr Almambet
A separate plot branch of the epic tells the story of the hero Almambet. It covers events from the moment of his birth to his coming to Manas. Almambet's father Sooronduk was one of the major Chinese commanders. For a long time he was childless, and, having reached adulthood, he finally finds a son. Almambet comprehends science from childhood, masters the art of magic and sorcery and becomes a brave warrior. Reasonableness, honesty, courage make him famous. At a young age, Almambet becomes the successor of his father, leading all the troops of the Chinese army. One day, while hunting, he meets the Kazakh Khan Kekcho, who initiates him into the secrets of the Islamic faith. Almambet recognizes the benefits of this faith and decides to convert to Islam. Returning home, Almambet calls on his relatives to convert to a new faith. Neither parents nor relatives want to listen to Almambet. Sooronduk orders the arrest of his son, who renounced the faith of his ancestors. Having escaped from the Chinese, Almambet finds refuge at Kekcho and stays with the Kazakhs. The generosity, reasonableness and justice of Almambet contribute to strengthening his fame. But the horsemen of Khan Kokcho are jealous of the new close associate of their ruler. They start up a false rumor about the proximity of Almambet and the wife of Khan Kekche Akerchek. Unable to bear the slander, Almambet leaves Kokcho.
And so the hero accidentally meets Manas, who went hunting with his forty horsemen. Manas has long heard about Almambet and therefore meets him with honors, arranges a feast in his honor. Manas and Almambet become brothers.
Since the former wives of Manas - Akylai and Karaberyk were not taken by him according to the rite, the hero demands that his father Zhakyp fulfill his paternal duty and find a suitable wife for him. After a long search, Zhakyp arrives at Khan Atemir in Khiva, where he liked the daughter of Khan Sanirabig. Zhakyp wooed her, paid a rich ransom-kalym, and Manas, according to all the rules, took Sanirabigu as his wife. The Kyrgyz call the wife of Manas the name Kanykey, which means "married to the khan." Forty jigits of Manas marry forty girls who came with Kanykey. Almambet marries the daughter of the patron saint of wild mountain animals, the sorceress Aruuke.
Beauty Kanykey
Having learned about Manas, relatives who were in exile far to the north decide to return to him. These are the children of Zhakyp's elder brother - Usen, who lived for many years among a foreign people, took wives from Kalmaks and forgot the customs and customs of their ancestors. Among the Kalmaks they were called Kezkamans.
At this time, Manas is forced to go to the aid of the batyr Koshoy. The Afghan Khan Tulkyu, taking advantage of the absence of Koshoy, raids the Katagan tribe and kills the son of the Kyrgyz hero. But Tulkyu's younger brother, Akun, decides to avoid bloodshed and settles the feud between the Kyrgyz and the Afghans. Tulkyu pleads guilty, pays a ransom for the murder of his son Koshoy and cedes his throne to Akun. Manas and Akun conclude a friendship agreement and agree that their children, if they have a boy and a girl, will be engaged. In addition, the son of the Kyrgyz Khan Kyokotey (who settled in Tashkent after the expulsion of Panus), Bokmurun expresses a desire to marry the daughter of Tulkyu named Kanyshay. On the advice of Manas, Bakai goes with the matchmaking to Tulkyu and performs all the prescribed rites.
During the absence of Manas, the Kyozkamans arrive. Kanykei gladly greets her husband's relatives, presents them, as usual, with everything necessary for housekeeping. Returning from the campaign, Manas arranges a feast in honor of his relatives. He gives them land, cattle and various utensils. Despite such a warm welcome, the envious Kezkamans conspire against Manas. They decide to poison the batyr, take the throne and take possession of all the property of Manas. The Kyozkamans find a convenient time to lure the batyr and his retinue to visit. Returning after the next campaign, Manas gladly accepted the invitation. Poison is mixed into the food of the batyr and his warriors. The surviving Manas soldered all his combatants and returned to headquarters. Kezkamans are looking for those responsible for the failure, a quarrel breaks out between them, they all use knives and die.
The glorious Kyrgyz Khan Kyokotey, having reached old age, leaves the white world. Leaving his son Bokmurun a will with instructions on how to perform a burial and how to arrange all posthumous rites, he also bequeathed to seek advice from Manas. After burying Kyokotey, Bokmurun has been preparing for three years to arrange a feast. Manas takes over the entire management of the feast of Kyokotey. Numerous guests from the most distant countries arrive for the feast. Bokmurun puts up rich prizes for the winners of various competitions. A number of Kyrgyz elders and khans of individual clans express dissatisfaction with the fact that Manas single-handedly manages the feast. They gather a council and decide to openly state their demands. But the conspirators are pacified by the elder Koshoi. He persuades them not to start quarrels in front of numerous guests, among whom there are old enemies of the Kyrgyz, and promises the conspirators to pacify Manas after the feast.
A year later, the conspirators demand from Koshoy that he lead their embassy to Manas and help them remove the wayward ruler. Koshoy, citing his age, refuses to be led by the conspirators. Then they decide to send messengers to Manas to notify that all the noble heads of the Kyrgyz clans are going to visit him as guests. Their plan was to come to Manas with a large group, force him to make some mistake in the ritual of hospitality, start a quarrel and then put forward demands to renounce the title of khan. Manas agrees to receive noble guests with all their numerous retinue. Arriving guests are greeted by forty warriors and all the arrivals are accommodated in their yurt and villages. Seeing such unity of the combatants and making sure of the steadfastness of the power of Manas, the Kyrgyz khans understand that they are in an awkward situation. When asked by Manas about the purpose of their arrival, no one dares to answer anything intelligible. Then Manas informs them that the news of a campaign being prepared against the Kyrgyz has reached him. The Chinese khan Konurbai, holding a grudge for previous defeats, gathers an army of many thousands in order to subjugate the Kyrgyz again. Manas calls on the Kyrgyz khans to preempt the enemy and go on a campaign themselves, with the combined forces to defeat the enemy on his territory and stop all attempts to conquer the Kyrgyz. The khans are forced to accept Manas' proposal. Bakai is elected Khan of all Kyrgyz for the period of the great campaign, and Almambet becomes the main commander of the Kyrgyz army. He leads them to the capital of the Chinese, Beijing.
Manas is preparing to march
Having passed a long and difficult way, the Kyrgyz army reaches the borders of the Chinese state. Leaving the army on a halt, Almambet, Syrgak, Chubak and Manas set off for reconnaissance. Having penetrated deep into the territory of the enemy, they steal numerous herds. Chinese detachments rush in pursuit of the hijackers. A battle ensues, the Kyrgyz manage to smash and disperse the many thousands of enemy troops. The Chinese pay tribute to them and declare their desire to make peace. Manas generously decides to spare Konurbay and the rest of the Chinese nobles. But Konurbay could not reconcile himself to defeat and one by one kills the best Kyrgyz batyrs. Almambet, Chubak and Syrgak perish. Having secretly penetrated into the military headquarters of Manas, Konurbai inflicts a mortal wound on the hero, hitting him in the back with a spear, when the unarmed batyr performed the morning prayer bagymdat namaz. Returning to his homeland, Manas cannot recover from his wound and dies. Kanykei buries the hero in a kumbez. The tragic ending of the first part of the trilogy achieves realistic authenticity. Manas' dying testament speaks of tribal strife, the weakening of the power of the Kyrgyz people united by Manas. The birth of the son of Manas - Semetey already predetermines the revenge for the defeat of his father in the future. Thus arose the second poem, ideologically and plotly connected with the first part, dedicated to the biography and exploits of the son of Manas Semetey and his associates, who repeat the heroism of their fathers and achieve victory over foreign invaders.
Less than forty days after the death of Manas, Zhakyp begins to demand that Kanykey be given as a wife to one of Manas' half-brothers. Manas is replaced by his half-brother Kobesh, who oppresses Kanykei and seeks to destroy the baby Semetey. Kanykei is forced to flee with the baby to her relatives. Semetey grows, not knowing about his origin. Having reached the age of sixteen, he learns that he is the son of Manas and expresses a desire to return to his people. He returns to Talas, where his father's headquarters was located. The enemies of Manas, among whom were the half-brothers Abyke and Kobesh, as well as the warriors who betrayed him, die at the hands of Semetey. Batyr marries Aichurek, with whom he was engaged even before birth, according to the promise of Manas. He raids Chinese territory and kills Konurbai in single combat, avenging him for the death of his father. Semetey is betrayed by Kanchoro, who has entered into an agreement with the enemy Kyyas. Having received a mortal wound from Kyyas, Semetey suddenly disappears. His devoted comrade-in-arms Kyulchoro is captured, and Aichurek becomes the prey of enemies. The traitor Kanchoro becomes Khan. Aichurek is expecting Semetey's child, but no one knows about it.
The heroic poem "Semetey" is the most frequently performed cycle of the trilogy. The courageous heroes of the poem also become victims of injustice, but the perpetrators of their death are not foreign invaders, but internal enemies.
The third part of "Manas" - "Seytek" is devoted to the epic story about the struggle against internal enemies. It tells about the bogatyr Seitek, the grandson of Manas, and is a logical continuation of the previous parts. In this part, there is the same ideological basis associated with the desire to preserve the unity of the people, get rid of external and internal enemies and achieve a peaceful life. The plot basis of the Seitek epic is the following events: the upbringing of Seitek in the camp of the enemies of his father, who does not know about his origin, Seitek's maturation and the disclosure of the secret of his origin, the expulsion of enemies and the return of Semetey to his people, the unification of the people and the onset of peaceful life. The images of Semetey and Seitek reflect the desire of the people to preserve the legends about Manas in the heroic life of his descendants.
Manasology
In philately
Monuments
Influence
- Manas University is the name of a university in the city of Bishkek.
- Asteroid 3349 Manas was discovered by Soviet astronomer Nikolai Stepanovich Chernykh in 1979.
- Manas is an opera written by the composer Abdylas Maldybaev.
- Manas is a lake in China.
- Manas is a lake in the Altai Mountains.
Notes
Links
- Kyrgyz epic "Manas". Prose and verse versions of the epic trilogy, the text of the epic in the Kyrgyz language
- B. M. Yunusaliev.
