Manas Kyrgyz epic. Kyrgyz heroic epic "Manas"

21.09.2019

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Academician B. M. Yunusaliev

(1913–1970)

KYRGYZ HEROIC EPIC “MANAS”

The Kyrgyz people have the right to be proud of the richness and diversity of oral poetic creativity, the pinnacle of which is the epic “Manas”. Unlike the epics of many other peoples, “Manas” is composed from beginning to end in verse, which once again testifies to the special respect the Kyrgyz people have for the art of versification.

The epic consists of half a million poetic lines and exceeds in volume all known world epics: twenty times the Iliad and the Odyssey, five times the Shahnameh, and more than two times the Mahabharata.

The grandeur of the epic “Manas” is one of the distinctive features of the epic creativity of the Kyrgyz people. It is explained by a number of significant circumstances, and, above all, by the unique history of the people. The Kyrgyz, being one of the most ancient peoples of Central Asia, throughout their centuries-old history were subject to attacks by the powerful conquerors of Asia: the Khitans (Kara-Kitai) at the end of the 10th century, the Mongols in the 13th century, the Dzungars (Kalmyks) in the 16th–18th centuries. Many state associations and tribal unions fell under their blows, they exterminated entire nations, and their names disappeared from the pages of history. Only the power of resistance, perseverance and heroism could save the Kyrgyz from complete destruction. Each battle was replete with exploits. Courage and heroism became an object of worship, a theme of chanting. Hence the heroic character of the Kyrgyz epic poems and the epic "Manas".

As one of the oldest Kyrgyz epics, “Manas” is the most complete and broad artistic reflection of the centuries-old struggle of the Kyrgyz people for their independence, for justice and a happy life.

In the absence of recorded history and written literature, the epic reflected the life of the Kyrgyz people, its ethnic composition, economy, way of life, customs, morals, aesthetic tastes, ethical standards, his judgments about human virtues and vices, ideas about nature, religious prejudices, language.

The epic, as the most popular work, gradually attracted independent fairy tales, legends, epics, and poems with similar ideological content. There is reason to assume that such episodes of the epic as “Wake for Koketey”, “The Tale of Almambet” and others once existed as independent works.

Many Central Asian peoples have common epics: the Uzbeks, Kazakhs, Karakalpaks - “Alpamysh”, the Kazakhs, Turkmens, Uzbeks, Tajiks - “Ker-Ogly”, etc. “Manas” exists only among the Kyrgyz. Since the presence or absence of common epics is associated with the commonality or absence of cultural, historical and geographical conditions during the period of the emergence and existence of the epics, we can come to the conclusion that the formation of the epic among the Kyrgyz took place in other geographical and historical conditions than in Central Asia. Events telling about ancient periods the stories of the Kyrgyz people confirm this. Thus, in the epic we can trace some character traits ancient social formation - military democracy (equality of members of the squad in the distribution of military spoils, election of military commanders-khans, etc.).

The names of localities, names of peoples and tribes, and proper names of people are archaic in nature. The structure of the epic verse is also archaic. By the way, the antiquity of the epic is confirmed in the historical information contained in “Majmu at-Tawarikh” - a written monument of the early 16th century, where the story of the heroic exploits of young Manas is considered in connection with the events of the second half of the 14th century.

It is possible that it was originally created and existed in the form of a short prose tale about the heroic deeds of people who heroically saved the people from extermination. Gradually, talented storytellers turned it into an epic song, which then, through the efforts of each generation, grew into a large poem that included new historical events, new characters, becoming increasingly more complex in its plot structure.

The gradual development of the epic led to its cyclization. Each generation of heroes: Manas, his son Semetey, grandson Seitek - is dedicated to plot-related poems. The first part of the trilogy is dedicated to the legendary Manas - central figure epics. It is based on real events from more early history Kyrgyz - from the period of military democracy to patriarchal-feudal society. The described events took place mainly in the territory from the Yenisei through Altai, Khangai to Central Asia. Therefore, we can say that the first part of the epic covers almost the entire centuries-old pre-Tienshan history of the people.

It must be assumed that initially the epic existed without cyclization, but had a tragic ending - at the end of the “Long March” almost all the good heroes die in an unequal battle. The treacherous Konurbai mortally wounds Manas. But the listeners did not want to put up with such an ending. Then the second part of the poem was created, dedicated to describing the life and exploits of the second generation of heroes - the son of Manas Semetey and his associates, who repeat the exploits of their fathers and achieve victory over foreign invaders.

The historical background of the poem “Semetey” corresponds approximately to the period of the Dzungarian invasion (XVI-XVIII centuries). The action takes place within Central Asia. Beloved heroes also become victims of injustice; however, the culprits of their death turn out to be not foreign invaders, but internal enemies - traitors, usurpers who became despots of their people.

Life required continuing the struggle against internal enemies. This is what the third part of the trilogy is dedicated to - the poem “Seytek”. Here the restoration of justice and freedom is completed. It is precisely this, the high noble goal - the defense of the homeland from foreign invaders and the deliverance of the people from the yoke of despots - that is the main idea of the Manas trilogy.

The first part of the trilogy - the poem "Manas" - begins with a description of the terrible national disaster that resulted from treacherous attack Chinese led by Alooke Khan to the country of the Kyrgyz. The people are dispersed different countries light, ruined, plundered, suffering all kinds of humiliation. At such a critical moment in the family of the elderly and childless Dzhakip, exiled from his homeland to the distant Altai to the hostile Kalmyks, an extraordinary child is born who grows not by years, but by days, filling with supernatural strength. The quickly spreading news of the birth of the hero horrifies both the Kalmyks, who mocked the Kyrgyz in Altai, and the Chinese, who expelled the Kyrgyz from their native land of Ala-Too. In order to deal with the future formidable enemy, the Chinese and Kalmyks launch repeated attacks, but they are successfully repulsed by the squad of young Manas, who has rallied his loyal associates (“kyrk choro” - forty warriors) around him. The invasion of aggressors forces the Kyrgyz tribes to unite around the hero Manas, who is elected leader of the 40-tribal Kyrgyz people.

The return of the Altai Kyrgyz to their homeland is associated with numerous wars, where the main role is given to the beloved hero - Manas.

The Kyrgyz reoccupy their lands in the Tien Shan and Altai as a result of their victory over the troops of Tekes Khan, who blocked the path from Altai to Ala-Too; Akhunbeshim Khan, who took possession of the Chui and Issyk-Kul valleys; Alooke Khan, who expelled the Kyrgyz from Ala-Too and Alai; Shooruk Khan - a native of Afghanistan. The hardest and longest war was against the Chinese troops led by Konurbai (“Long March”), from where Manas returned mortally wounded.

The entire first part of the epic is a description of small and big wars(hiking). Of course, it also contains episodes that tell about peaceful life.

It would seem that the episode “Marriage to Kanykey” should be the most peaceful, however, here too the heroic style of narration is strictly maintained. Manas arrives at the bride, accompanied by his retinue. Non-compliance with Manas traditional custom when meeting the bride, it causes feigned coldness on her part, and the rudeness of the groom forces her to inflict a wound on him. The behavior of the bride makes Manas lose patience. He orders the vigilantes to attack the city, punish all its inhabitants, primarily the bride and her parents. The warriors are ready to attack. But the sage Bakai suggests that the vigilantes create only the appearance of an invasion.

Manas's relatives - the Közkamans - do not care about the interests of the people. Blind envy pushes them to commit a crime: they conspire, poison Manas and seize power in Talas. Only the wise Kanykey was able to heal Manas. He restores order in Talas and punishes the criminals.

The heroic style is also strictly maintained in the episode “Wake for Koketey.” This style corresponds to the scenes of the arrival of khans of different peoples and tribes with their numerous troops at the funeral; belt wrestling (kuresh) between the famous heroes Koshoi and Joloi, defending the honor of their people. In the jambu (gold ingot) shooting tournament, which requires high warrior skill, Manas emerged victorious. The competition between Manas and Konurbay on the pikes was essentially a single combat between the leaders of two hostile sides. The grief of the defeated Konurbay is boundless, and he secretly prepares his army to plunder the Kyrgyz.

At the end of the wake, the most interesting and popular sport is arranged - horse racing. And here, despite the barriers and obstacles arranged by Konurbay, Manasov’s Akkula is the first to reach the finish line. Unable to bear the shame of defeat in all competitions, the Chinese and Kalmyks, led by Konurbay, Joloy and Alooke, rob the Kyrgyz and steal herds.

The episode of the “Long March” against the Chinese capital Beijing, in comparison with the episodes of other campaigns, is the largest in volume and the most valuable in artistic terms. Here the heroes find themselves in different conditions a long campaign and fierce battles, where their fortitude, devotion, courage are tested, and positive and negative character traits are revealed. Nature, its fauna and flora are colorfully presented; The episode is not devoid of fantasy and elements of mythology. The battle scenes are distinguished by the precision and perfection of the verse. The focus is on the main characters: Manas and his closest assistants - Almambet, Syrgak, Chubak, Bakai. Their war horses, fabulous weapons, have their due role, but ultimately victory is on the side of those who have powerful physical strength. Manas' opponents are no less powerful, but they are cunning and treacherous, and sometimes gain the upper hand in single combat. In the end they are defeated. The capital of the Chinese, Beijing, has been conquered. According to S. Karalaev’s version, the Kyrgyz achieved complete victory at the cost of the lives of many of the best heroes - Almambet, Syrgak, Chubak, and Manas himself returned seriously wounded to Talas, where he soon died.

Semetey Kanykei, who was left a widow with a baby, erects a mausoleum for her husband. This ends the first part of the epic. From beginning to end, it strictly adheres to the heroic style, which corresponds to the main idea of the poem - the struggle for the unification of the Kyrgyz tribes, for their independence and freedom.

On early stages development of society, in the era when the epic arose, wars were very destructive, therefore many peoples and tribes, quite numerous and strong, completely disappeared over time. And, if the Kyrgyz have survived as a people for more than two thousand years, despite constant clashes with the Uyghurs, Chinese, Genghis Khan’s hordes, and Dzungars, then this is explained by their cohesion, courage and love of freedom. The glorification of courage and bravery in the struggle for freedom and independence corresponded to the spirit of the people. This is precisely what can explain the heroic pathos of the epic, its centuries-long existence, and its popularity.

The death of a beloved hero and the tragic end of the poem did not suit the listeners. The legend had to be continued, especially since there was still a reason for this: the main rival of Manas, the insidious instigator of all the bloody clashes, Konurbai, escaped during the “Great March”.

The beginning of the poem “Semetey” is tragic. Power is usurped by the envious relatives of Abyke and Köbyosh, who destroy everything that reminds of Manas, care only about their well-being, and rob the people. The fate of the surviving heroes of the first part of the trilogy is pitiful: the sage Bakai is turned into a slave, Chyiyrdy’s grandmother is the mother of Manas and Kanykey, dressed as beggars, run to Kanykey’s parents, saving Semetey’s life. His childhood passes by sibling mothers in the kingdom of Temir Khan are unaware of their parents and homeland. Semetey's childhood years are less rich in exploits than the childhood years of Manas, but he is strong enough and learns the art of fighting and winning. At the age of fourteen, the future hero learns about his parents and native people suffering under the yoke of usurpers.

Returning to Talas, Semetey, with the help of the people, deals with his opponents and takes power. He once again unites the scattered tribes and establishes peace. There is a slight respite.

The envious people of Semetey: his distant relative Chinkozho and his friend Toltoy - decided to attack the capital of Akhun Khan in order to take possession of his daughter, the beautiful Aichurek, before whose birth her father and Manas declared themselves matchmakers. Enemies besieged the city, Akhun Khan is forced to ask for a two-month period to get ready for the bride. Meanwhile, Aichurek, having turned into a white swan, flies around all over the world in search of a worthy groom who would punish the rapists who brought suffering to the inhabitants of her city. From the heights of heaven, she examines the famous heroes of all peoples and lands, assessing each one with feminine observation. But there is no hero more beautiful and stronger than Semetey; there is no place on earth more picturesque than Talas. To entice her lover, she kidnaps his beloved white gyrfalcon Akshumkar.

The description of the meeting of the bride and groom is replete with ethnographic details. Scenes of youth games are full of jokes, enthusiasm and humor. However, to become spouses, love alone is not enough: one must defeat the rapist who demands Aichurek’s hand.

A long and persistent struggle with a countless enemy army ends in the victory of Semetey. Again feasts, games, and wedding ceremonies are held in front of the audience.

Semetey won the hand of the lovely Aichurek. A quiet peaceful life began. But the ethical standards of the time require the new generation of heroes to take revenge on those who are guilty of the unjust death of their fathers.

Semetey's campaign against Beijing and the fight against the treacherous Konurbay, who was also preparing to move against the Kyrgyz, is in many ways reminiscent not only in plot, but also in detail of the “Long March” from the first part of the trilogy. Neither the fabulous physical strength possessed by Semetey and his closest associate Kulchoro, nor magic - nothing could defeat the invulnerable Konurbay. In the end, the Chinese hero was defeated, succumbing to Kulchoro’s cunning.

After returning to Talas, Semetey himself, in the fight against the envious Kyyaz Khan, becomes a victim of betrayal by Kanchoro, who harbors a grudge against him. Traitors become rulers. Aichurek was forcibly taken away by Kyyaz Khan: they were shackled and shared the fate of the slaves Kanykei, Bakai, and Kulchoro.

Such a sad ending to the poem “Semetey” did not correspond to the national spirit, and over time a third genealogical cycle was created - a poem about Seitek, the grandson of Manas. Its main theme is the struggle of heroes against internal enemies - traitors and despots who have seized power by dishonest means and mercilessly oppress the people.

In Talas, the Kyrgyz languish under the yoke of the traitor Kanchoro and yearn for liberation, and in another kingdom, in the country of Kyyaz Khan, Seitek, the future hero of the poem, is born. Clever Aichurek manages to use cunning to save the child from Kyyaz Khan’s attempts to kill him. Growing up among shepherds, Seitek learns about his ancestry, his homeland, the fate of his parents and his true friends. Seitek manages to cure the paralyzed hero Kulchoro. With him he makes a campaign to Talas and, with the support of the people, overthrows Kanchoro. So, the traitor and despot was punished, freedom was returned to the people, justice triumphed.

It would seem that this should be the end of the epic. However, it has a different continuation for different storytellers.

In S. Karalaev, from whom all three parts of the epic were recorded, the Kyrgyz are attacked by the son of Dzhelmoguz.

In the story of the storyteller Sh. Rysmendeev, who also dictated all three parts of the epic, it is not the mythological Sary-bai who makes the trek to Talas, but a very real figure - the son of the famous Konurbai named Kuyaly. The plot diagram of each cycle outlined above is characteristic of all known versions of the epic and constitutes its main plot. However, comparing the options recorded from the words of different storytellers, it is not difficult to notice some thematic and plot discrepancies.

Thus, only the storyteller Sagymbay Orozbakov has Manas’s campaigns to the North and West, Chubak’s pilgrimage to Mecca only has Sayakbai Karalaev. Sometimes the well-known motive for the unification of Kyrgyz tribes is replaced by the motive for the unification of Turkic tribes.

In the epic "Manas" traces of the ancient Tengri beliefs of the Kyrgyz can be traced. So, the main characters swear before going on campaigns, worshiping heaven and earth.

Who will change his oath?
May the clear sky punish him,
Let the earth punish him
Covered with vegetation.

Sometimes the object of worship is military weapons or fire:

Let Akkelte's bullet punish
Let the fuse of the fuse punish.

Of course, Islam was also reflected, although the Islamization of the epic is, it must be said, superficial in nature and is most noticeable in the motivations for actions. Thus, one of the main reasons for Almambet’s departure from China was his adoption of Islam.

Of course, Islamic motifs were introduced into the epic “Manas” by storytellers of later centuries.

In any version, the positive characters: Manas, Almambet, Bakai, Kanykey, Syrgak, Chubak, Semetey, Seitek, Kulchoro - are endowed with the traits of real heroes - boundless devotion to their people, perseverance, endurance, courage, resourcefulness, willingness to sacrifice life in the interests of the homeland. These immortal qualities of a patriot are manifested by heroes not in words, but in deeds and actions in different situations, under the most tragic circumstances.

The heroic epic “Manas” is also dear because the events described in it have a real basis. They reflect the history of the formation of the Kyrgyz people from clans and tribes, as evidenced by the lines transmitted through the mouth of Manas:

I made a cow from a white deer.
From the mixed tribes he made a people.

The events that decided the fate of the Kyrgyz people were vividly reflected in the epic. The mysterious names of people found in it, the names of cities, countries, peoples reflect certain events of various stages of the history of the people. The central battle episode of the “Long March” to Beijing is reminiscent of the Kyrgyz victory in the 9th century. over the Uighurs with the capture of their cities, including Beiting (or Beizhen), returned back only at the end of the 10th century.

If we take into account the reinterpretation of events and names characteristic of oral folk art, then the main enemies of the Kyrgyz people named in the epic either by the Chinese or by the Kalmyks: Alooke, Joloy, Esenkhan - are most likely prototypes of real personalities whose names appear in the chronicles. For example, Esenkhan (in Kalmyk Esentaiji) led the Dzungar (Kalmyk) army in the 15th century. Alyaku led the Dzungar invasion in the 17th century, and Bluey (the initial Kyrgyz “j” corresponds to “e” in other Turkic languages) was the leader of the Khitan (Kara-Chinese) troops - tribes of Mongolian origin who moved from Northern China and first defeated the Kyrgyz state in the end X century, and then conquered all of Central and Central Asia from the Yenisei to Talas in the XII century.

In direct connection with the names of individuals, the names of the peoples who appear in the epic as invaders (China, Kalmak, Manchu) should also be considered. Bloody clashes with them are forever preserved in the memory of the Kyrgyz people.

On the other hand, many peoples and tribes were named with whom the Kyrgyz were in friendly relations and jointly opposed the invaders and oppressors. The epic mentions as allies the Oirots, Pogons, Noiguts, Katagans, Kipchak, Argyns, Dzhedigers and others, who were later included in ethnic groups Kazakhs, Uzbeks, Mongols, Tajiks.

It must be assumed that the positive characters of the epic also have their own prototypes, whose names the people carefully preserved in the epic, which for many centuries replaced written literature and chronicles. There are many fantastic characters in Manas: the “mountain-moving” giant Madykan; one-eyed Malgun, similar to the Cyclops in Homer’s Odyssey, who has only one vulnerable spot - the pupil; sentinel animals; winged tulpara horses that speak human. Many miracles happen here: Aichurek turns into a swan, the weather changes at the request of Almambet, etc., hyperbolism is maintained: a countless number of troops can move without stopping for 40 days; Hundreds of thousands of heads of cattle and, in addition to them, countless wild animals can be driven in as bridewealth; one hero can cope with hundreds and even thousands of enemy warriors, etc. However, fantasy and hyperbolism serve as an artistic means for creating immortal images of real people who gave their lives for the freedom and independence of their people. Listeners of the epic find true pleasure not in its fantasy, but in the vitality and realism of the ideas and aspirations of the heroes.

Manas in the first part of the trilogy is a collective image. He is endowed with all the features of an ideal hero, the leader of the troops of the people's squad. All the compositional elements of the epic are subordinated to the depiction of his image: the situation, motives, intrigues, etc. The names of the most powerful and terrible animals serve as epithets for him: arstan (lion), kablan (leopard), syrttan (hyena), kekdzhal (gray-maned wolf). Despite the later desire of storytellers to give the image of Manas some features of a feudal ruler - a khan, in the main thematically and plot-related episodes he remains a truly folk hero, deserving love and glory for his courage and bravery in the fight against the enemies of his homeland. In all clashes with the enemy army, victory is ensured by the personal participation of Manas as an ordinary warrior-hero. The real Manas is not jealous of power, therefore, in the great campaign against Beijin, he transfers the staff of the commander-in-chief to the sage Bakai, and then to the hero Almambet.

Secondary characters in the epic serve, as it were, to strengthen the image of the main character. The greatness of Manas is supported by his legendary companions - forty warriors (“kyrk choro”). The most famous of them are the wise elders-heroes Koshoi and Bakai, the youth: Almambet, Chubak, Syrgak, etc. They are also distinguished by their powerful physical strength and courage, welded together by friendship and mutual assistance in battle. For each of them, Manas is an ideal, honor and glory, his name serves as their battle cry.

Each of the heroes is endowed with certain qualities. Manas is the owner of incomparable physical strength, cold-blooded, and a great strategist; Bakai is a sage and hero, Manas’s best adviser. Almambet is Chinese by origin, an extraordinary hero, owner of the secrets of nature. Syrgak is equal in strength to Almambet, brave, hardy, and dexterous. The Manas squad “kyrk choro” is capable of hitting any numerically superior enemy.

The characterization of negative characters also serves to exalt the main character. The image of Manas is opposed by the image of his main opponent - Konurbai, strong, but treacherous and envious. Joloy is simple-minded, but has inexhaustible strength.

The epic also contains unforgettable images of women. The main character's wife, Kanykey, is especially charming. She is not only a mother who instills in her son honesty and boundless love for the homeland, but also a selfless woman, ready to make sacrifices in the name of the interests of the people. She is a hard worker, a skilled craftswoman, under whose leadership the women sewed impenetrable equipment for their warriors. She heals Manas from a mortal wound, saves him when he, wounded by a traitor, was left alone on the battlefield. She is the wise adviser of Manas.

The characters of the first and second generations have a lot in common. The image of Semetey as a hero is less colorful compared to the image of Manas, but his love for the Motherland and patriotism are recreated very colorfully. Here are the experiences of a young man separated from his people, his struggle with foreign invaders, and mortal battles with traitors to his homeland. In “Semetey” the image of grandmother Chyiyrda, the mother of Manas, and the image of the old sage Bakai continue to develop. At the same time, new types of heroes appear. Aichurek with her romanticism and patriotism is opposed by Chachykey - an ambitious traitor. The image of Kulchoro is in many ways reminiscent of the image of his father Almambet. Kulchoro is contrasted with the touchy and selfish Kanchoro, who becomes a traitor and traitor. At the end of the second and beginning of the third poem, he appears as a usurper, a despot, a merciless oppressor of the people. In the poem “Seytek”, the image of Kulchoro resembles the familiar image of the sage Bakai: he is both a powerful hero and a wise adviser to Seytek.

The main character of the third part of the trilogy, Seitek, acts as a defender of the people from oppressors and despots, a fighter for justice. He achieves the unification of the Kyrgyz tribes, with his help a peaceful life begins.

At the end of the poem, the beloved heroes of the epic: Bakai, Kanykei, Semetey, Aichurek and Kulchoro - say goodbye to people and become invisible. Together with them, Manas’s beloved white gyrfalcon Akshumkar, the dog Kumaik, and Semetey’s tireless horse Taitoru disappear. In this regard, there is a legend among the people that they all still live, roam the earth, sometimes appearing to a select few, recalling the exploits of the fabulous heroes Manas and Semetey. This legend is a poetic embodiment of the people's belief in the immortality of their favorite characters from the epic "Manas".

The poetic techniques of the epic correspond to the heroic content and scale of its volume. Each episode, which is often a thematic and plot-independent poem, is divided into chapter songs. At the beginning of the chapter we are dealing with a kind of introduction, a prelude of semi-prosaic and recitative form (jorgo sez), where alliteration or end rhyme is observed, but the verses are without meter. Gradually, the jorgo sez turns into rhythmic verse, the number of syllables of which ranges from seven to nine, corresponding to the rhythm and melodious music characteristic of the epic. Each line, regardless of the fluctuation in the number of verses, falls into two rhythmic groups, each of which has its own musical stress, which does not coincide with the expiratory stress. The first musical stress falls on the second syllable from the end of the first rhythmic group, and the second - on the first syllable of the second rhythmic group. This placement gives strict poetic symmetry to the entire poem. The rhythmicity of the verse is supported by the final rhyme, which can sometimes be replaced by the initial euphony - alliteration or assonance. Often rhymes are accompanied by alliteration or assonance. Sometimes we have a combination of all types of euphony, rarely observed in versification, along with final rhyme, external and internal alliteration:

Kanatyn guillemot kakkylap,
Kuyrugun kumga chapkylap...

A stanza has a varying number of verses; most often it occurs in the form of a single-rhyme long tirade, which provides the narrator of a grandiose work with the required tempo of performance. Other forms of organizing verse structure (redif, anaphora, epiphora, etc.) are also used in the epic. Various artistic techniques are used to create images. Heroes are depicted dynamically in direct actions, in struggle, in clashes with enemies.

Pictures of nature, meetings, battles, and the psychological state of the characters are conveyed mainly through narration and serve as an additional means for portraiture.

A favorite technique when creating portraits is the antithesis with widespread use epithets, including permanent ones. For example: “kan zhyttangan” - smelling of blood (Konurbay), “dan zhyttangan” - smelling of grain (to Djoloy, a hint of his gluttony); “kapilette sez tapkan, karatsgyda kez tapkan” (to Bakai) - seeing in the dark, finding a way out in a hopeless situation.

As for style, along with the dominant heroic tone of presentation, there is a lyrical description of nature, and in the poem “Semetey” there is also love romance.

Depending on the content, commonly used folk tales are also used in the epic. genre forms: kereeez (testament) at the beginning of the episode “Wake for Koketey”, arman (song-complaint about fate) of Almambet during the dispute with Chubak in the “Long March”, sanat - a song of philosophical content, etc.

Hyperbole predominates as a means of depicting heroes and their actions. Hyperbolic dimensions surpass all known epic techniques. Here we are dealing with an extremely fabulous exaggeration.

Wide and always appropriate use of epithets, comparisons, metaphors, aphorisms and others expressive means impact captivates the listener of “Manas” even more.

The language of the poem is accessible to the modern generation, since the epic lived in the mouths of every generation. Its performers, being representatives of a certain dialect, performed before the people in a dialect they understood.

Despite this, there is a lot of archaism in the vocabulary, which can serve as material for restoring ancient toponymy, ethnonymy and onomastics of the Kyrgyz people. The vocabulary of the epic reflected various changes in the cultural, economic and political relationships of the Kyrgyz people with other peoples. In it you can find many words of Iranian and Arabic origin, words common to the languages of Central Asian peoples. The influence of book language is also noticeable, especially in the version of Sagymbay Orozbakov, who was literate and showed a special interest in book information. The vocabulary of “Manas” is not without neologisms and Russianisms. For example: mamonot from Russian “mammoth”, ileker from Russian “doctor”, zumrut from Russian “emerald”, etc. At the same time, each storyteller retains the features of his own dialect.

The syntactic features of the epic language are associated with the grandeur of its volume. To enhance the pace of presentation of poetic material, long phrases with strung participial, participial and introductory sentences are widely used as a stylistic device, sometimes in an unusual combination. Such a sentence can consist of three or more dozen lines. In the text of the epic, there are individual violations of grammatical connection (anacoluth) characteristic of large oral works, caused by the need to maintain the size of the verse or rhyme.

In general, the language of the epic is expressive and figurative, rich in nuances, because the best talents of folk literature of previous eras worked on its polishing. The epic “Manas”, as the largest monument that has absorbed all the best and valuable from the verbal and speech culture of the people, has played and is playing an invaluable role in the formation of the national language, in bringing its dialects closer together, in polishing grammatical norms, in enriching the vocabulary and phraseology national Kyrgyz literary language.

The historical and cultural significance of the epic “Manas” lies in the fact that over the centuries it had a significant influence on the formation of aesthetic tastes and national character Kyrgyz people. The epic instills in listeners (readers) a love for everything beautiful and sublime, a taste for art, poetry, music, the beauty of the human spirit, hard work, heroism, courage, patriotism, loyalty to a friend, love for real life, the beauty of nature. Therefore, it is no coincidence that the epic “Manas” serves as a source of inspiration for the masters of Kyrgyz Soviet art in the creation of works of art.

Favorite images: Manas, Kanykey, Bakai, Almambet, Semetey, Kulchoro, Aichurek, Seitek and others are immortal primarily because they have such high moral qualities, like boundless love for the motherland, honesty, courage, hatred of invaders, traitors. The heroic epic “Manas”, thanks to its high artistry, deservedly takes its rightful place on the shelf of world masterpieces of oral folk art.

1958 (Translation from Kyrgyz)

THE TALE OF MANAS

Hey!
An ancient legend
Lives today, in our days.
A story without edge and end
The Kyrgyz people created
Inheritance to a son from his father
Passed on from mouth to mouth.
A mixture of fiction and truth
Intertwined in unity here.
Witnesses of distant years
A long time ago, no longer in the world.
But only God knows the truth!
The years flowed like sand,
The earth has changed over the centuries,
The lakes and seas dried up,
And the rivers changed their course,
The clan was renewed after the clan.
Neither heat, nor wind, nor water,
Centuries of bloody years
Erase from the surface of the earth
They couldn’t say this.
The people's hard-won tale,
After going through bloody years,
It sounded like a hymn of immortality,
It bubbled in hot hearts,
He called for freedom and victory.
Defenders of our native land
This tale was a true friend.
Like a song driven into granite,
The people keep it in their souls.
About how a thousand years ago
Kyrgyz exiled to Siberia,
Collected and united again,
Created a mighty kaganate,
He returned to the land of his ancestors,
The great campaign against China
Batyrov led the valiant
Defender of the homeland Manas,
Listen to our story.

The duty commanded by God has been fulfilled...

A. S. Pushkin “Boris Godunov”

A century and a half has passed since Russian scientists Chokan Valikhanov and V.V. Radlov informed the world that the “wild stone” Kyrgyz, roaming the foothills of the Tien Shan, have the greatest oral and poetic masterpiece - the heroic epic “Manas”. Episodes of the Kyrgyz legend were recorded, published, and translated into Russian and German.

Many scientific works have been written about the trilogy “Manas”, “Semetey”, “Seytek”, scientific conferences have been held, and in 1993 the 1000th anniversary of the epic was celebrated at the world level.

Years passed, but our valiant hero never reached the broad masses; few people know the content of the epic itself, not only abroad, but also in the homeland of Manas. And the reason, apparently, is that the text of “Manas” is very voluminous and multivariate. It is impossible to translate it into verse, and in a prose translation “Manas” loses half of its artistic merits. Imagine an uncut ruby! “Zhanbashtap zhatyp sonunda” is one thing, that is, lying on your side and admiring nature, listening to a manaschi storyteller, another thing is reading about all this yourself. But the main reason, perhaps, is that until now, whether in prose or poetry, it was not the artistic content of the epic that was translated, but its execution in the interpretation of one or another storyteller. This is the same as translating not a drama by W. Shakespeare, but his production on stage, or, let’s say, not a novel by A. S. Pushkin, but an opera by P. I. Tchaikovsky “Eugene Onegin”.

So, like the storytellers of “Manas,” I dreamed...

I went to visit my Manas and saw: he came out of the felt yurt and in all his fighting glory was prancing on his white horse around the closed circle of the paddock. People are standing around, admiring the greatness of the Kyrgyz hero. And the guide enthusiastically talks about his glory and past exploits. And Manas himself is already gray-haired, and Ak-Kula has dark streaks around his eyes. I tried to open the gate of the pen, but, alas, my strength was not enough. And I, as always, called for help from my faithful and powerful friend - Great Russian language and sat down to translate, or rather to write a poetic translation of “Manas”.

Historians have proven that the events of the tale took place in the Middle Ages AD, so they had to abandon fantasy and fairy-tale hyperbole, religious and other layers of pan-Turkism and pan-Islamism introduced by storytellers after the tragic events of 1916, when the Kyrgyz people, finding themselves between two great powers: Russia and China, was subjected to brutal genocide.

In 1856, Ch. Valikhanov called the epic “Manas” the steppe “Iliad”. I consider the epic “Manas” to be the Bible of the mountains and steppes, and therefore I tried to preserve biblical motifs, clarify and generalize the parable thoughts of the Great Legend. To the best of his abilities, he tried to preserve the canonical plot of the epic, build the logic of the characters’ behavior and the development of events, and convey the figurative flavor of the Kyrgyz language.

The first, one might say, trial edition of my “Tale of Manas” was published in 2009 in a small edition and immediately went to the people. The Ministry of Science and Education recommended the book as an additional textbook on the epic “Manas”. In the Russian Academic Theater named after. Ch. Aitmatov carried out a literary and dramatic production of the same name performed by Kyrgyz actors in Russian.

The second edition of “The Legend” is supplemented by a retrospective preface by Academician B. Yu. Yunusaliev, at the end of the book there is a scientific summary by Professor G. N. Khlypenko. Undoubtedly, the works of famous Kyrgyz scientists will complement readers’ knowledge about the outstanding masterpiece of the Kyrgyz people.

I hope that the Russian text of “The Tale of Manas” will become the basis for translating the Kyrgyz epic into other languages and that our legendary hero will rush along the equator of the globe.

Good journey to you, my valiant Manas!

Mar Baydzhiev.

Academician B. M. Yunusaliev

(1913–1970)

KYRGYZ HEROIC EPIC “MANAS”

In the absence of recorded history and written literature, the epic reflected the life of the Kyrgyz people, their ethnic composition, economy, way of life, customs, mores, aesthetic tastes, ethical standards, their judgments about human virtues and vices, ideas about nature, religious prejudices, and language.

Many Central Asian peoples have common epics: the Uzbeks, Kazakhs, Karakalpaks - “Alpamysh”, the Kazakhs, Turkmens, Uzbeks, Tajiks - “Ker-Ogly”, etc. “Manas” exists only among the Kyrgyz. Since the presence or absence of common epics is associated with the commonality or absence of cultural, historical and geographical conditions during the period of the emergence and existence of the epics, we can come to the conclusion that the formation of the epic among the Kyrgyz took place in different geographical and historical conditions than in Central Asia. Events telling about the most ancient periods of the history of the Kyrgyz people confirm this. Thus, the epic traces some characteristic features of an ancient social formation - military democracy (equality of squad members in the distribution of military spoils, election of military commanders-khans, etc.).

Once one of the classics of Kyrgyz literature said that: “ Manas" - This golden treasury of folk thought, reflecting thousands of years of experiencehistory and spiritual life of the Kyrgyz people" And it’s impossible to disagree with this. Indeed, by its nature epic "Manas" refers to the best examples oral creativity, and in terms of genre content, to heroic epics. However, in terms of the scope of events in the narrative, it goes far beyond the traditional genre and becomes a kind of chronicle of the life of many generations.

The main theme in the tale, its central idea, is devoted to the main events in the life of the nation, the formation Kyrgyz people. The epic tells about the Kyrgyz struggle for independence, glorifies the valor of heroes in the fight against treacherous enemies, idealizes great heroes who do not spare their lives in the struggle for the idea of national unity.

« Manas"consists of 500 thousand poetic lines and exceeds in volume all known world epics. It's 20 times bigger" Odyssey" And " Illiads", 5 times more " Shah-name"and 2.5 times longer than the Indian one" Mahabharat».

Grandiosity and scale " Manasa“is one of the distinctive features of epic Kyrgyz creativity and is explained by the uniqueness of the historical past of the nation.

Kyrgyz- one of ancient peoples in Central Asia, throughout its history, was constantly attacked by powerful conquerors who destroyed centuries-old states and exterminated numerous peoples. Only persistence in the struggle, incredible resistance, strength and heroism helped the Kyrgyz people avoid complete destruction. Each battle was abundantly watered with blood and covered with the glory of the heroic sons and daughters of the long-suffering people. Courage and heroism became objects of worship, deification and glorification.

However, " Manas"- this is also a chronicle of completely everyday, life events, because it is impossible to imagine any side life of the Kyrgyz people, which would not be reflected in the legend. There is an opinion that a person who has never even visited Kyrgyzstan, is able to understand the mentality and life position people, just by getting acquainted with " Manas».

Various artistic genres of folk art have found their application in the narration, such as: testaments (kereez), lamentations (koshok), edifications (sanaat-nasiyat), songs of complaint (arman), as well as traditions, myths, tales and legends. But this does not mean that " Manas"is a mechanical collection of them, in the epic there is a completely definite storyline, and artistic additions are just a beautiful outline for the main compositional structure.

The central figure of the epic - hero Manas - great and wise warrior. It is difficult to say whether he appeared as a collective image, or whether there really was such a historical character, however, the events described in the legend really took place and covered a vast territory from Yenisei before Central Asia, through Altai And Khangai.

Most likely, at first there was only one episode in the epic - “ Long March", dedicated to the life and exploits of the main character, and at the end of the story all the positive characters, including Manasa, died. However, the people did not want to put up with the loss of loved ones characters and they were replaced, first by their son Manasa- Semetey, and then Seytek. This is how three parts of the epic turned out, each of which is dedicated to one hero.

All parts of the trilogy are connected by a storyline, but unlike the first part, the biography Manasa, history of Semetey It is not only heroic and epic, it has a love-romantic frame and is more life-like, for which it has gained enormous popularity among the people.

Historical events in this segment of the epic take place in Central Asia XVI-XVII centuries and the culprits of the death of the main characters are not bloody

Life itself demanded the continuation of the heroic legend in order to finally defeat the forces of evil. This is how it was born the third part of the epic - “Seytek”. It ended the centuries-old struggle of the people for freedom and justice. The persistent struggle of many generations brought the long-awaited victory over internal and external enemies Kyrgyz people.

It is this high and noble goal - the defense of the native land from foreign conquerors and the liberation of the people from self-proclaimed tyrants and usurpers - that trilogy "Manas", this bright idea permeates the entire narrative.

"Manas", undoubtedly, a historical document and contains a real storehouse of knowledge about the various stages of the development of the nation. Therefore, not a single generation of Kyrgyz was brought up on the example of the heroes of the epic work.

Special credit for preserving this cultural monument belongs folk epic storytellers - « manaschi", popularly nicknamed " Zhomokchu" Initially, they constituted a completely specific group of folk storytellers, strikingly different from others. Their work combined absolute traditionalism with artistic improvisation in the delivery of poetic texts. Depending on the degree of skill, storytellers received popular nicknames: students (“ Uirenchuk"), beginner (" chala manaschi") and a skilled storyteller (" chynygy manaschy"). True storytellers, with their creativity, not only conveyed the epic to listeners, but also enriched and embellished it in their own way. The names of talented and famous “ manaschi" of the past.

« Manas» - piece of oral folk art and has no canonical text. However, today science knows 34 variants of the recorded epic, which differ significantly from each other.

However, despite the many options, “ Manas"is a single work united by a storyline, a common theme and unity of images.
Today at modern folkloristics Kyrgyzstan a special direction has emerged in the study of the beloved epic - “ Manas studies", which even has its own specializations:

Collecting and recording texts,

Scientific edition of existing variants,

Study of the poetics of a work through creativity " manaschi».

And this is really very important, because “ Manas", like a living organism, exists and develops as long as there are people interested in preserving it as a historical document about the heroic history of the nation, which has come down to us in such a beautiful literary form.

Uniting the Kyrgyz. “Manas” is included in the list of masterpieces of the intangible cultural heritage of humanity by UNESCO, as well as in the Guinness Book of Records as the most voluminous epic in the world.

Parts and storytellers[ | ]

The epic consists of 5 parts, actually “Manas”, “Semetey”, “Seytek”. The main content of the epic consists of the exploits of Manas.

The versions (1867-1930) and Sayakbay Karalaev (1911-1971) are considered classic. From Sagymbay, researchers recorded in the 1920s only a part about Manas itself (about 19 thousand lines); The entire trilogy (937 thousand lines) was written down from Sayakbai.

In addition, researchers recognize the most significant records of the part about Manas made by the storytellers Togolok Moldo (1860-1942), Moldobasan Musulmankulov (1884-1961), Shapak Rysmendeev (1858-1956), Bagysh Sazanov (1818-1918), Ibraim Abdyrakhmanov ( 1888-1960), Mambeta Chokmorova (1846-1932)

The most famous Xinjiang storyteller Dzyusup Mamai (Kyrgyz.)(Jusup Mamai) - his version of the 8 parts of the epic occupies about 200 thousand lines and was published in 18 volumes in Urumqi (1984-2007).

For a comparative assessment of the volume of epics, it is important to keep in mind the poetic size: basically “Manas” is composed with 7- and 8-syllable syllabic verses, but in Sagymbay Orozbakov’s version there are 4-, 5- and 6-syllable verses, close to rhymed prose, and in Sayakbay Karalaev's version there are also lines from 9-syllable to 12-syllable.

History of the epic [ | ]

Tradition traces the origin 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 lament songs that existed separately among the people were combined into one epic by the legendary singer Toktogul (the Kirghiz of the first half of the 20th century believed that he lived 500 years ago). Other storytellers are known to tradition, as well as the names of many 19th-century manaschi whose work was not recorded.

Modern scientists have not come to unanimous opinion about the time of the origin of the epic. Hypotheses have been put forward that its basis is connected with the events of the history of the Kyrgyz in 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 of Majmu at-Tawarikh, where Manas is shown as a historical figure acting together with the real-life Tokhtamysh, Khorezmshah Muhammad, etc.

Manas enters into an unequal battle with the Uighurs and wins. In this battle, the khan of the Kyrgyz tribe of Katagans, Batyr Koshoi, provides him with invaluable assistance. One of the defeated Uyghur rulers, Kayypdan, gives Manas his daughter Karabyoryk, who herself expresses a desire to become the batyr’s wife.

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. Gathering an army, he enters the battle and wins. The Kyrgyz decide to migrate from Altai to their ancestral lands. Manas and his clan are located near the sacred black mountains.

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. Having learned about this, Manas urgently sets out on a campaign with his forty warriors. He easily disperses the enemy army and captures the headquarters of Khan Alooka. Seeing the determination and courage of the hero Manas, Alooke decides to make peace with the Kirghiz and, in recognition of his submission, gives Manas his son Booke.

At this time, on the southern borders, the confrontation between the Kyrgyz clans and the Afghan Khan Shoruk intensified. Having gathered an army, Manas enters the battle. The defeated Afghan ruler enters into a diplomatic marriage alliance with the Kyrgyz, marrying his daughter to Manas and sending forty of her servants 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 arrival to Manas. Almambet's father Sooronduk was one of the major Chinese commanders. For a long time he was childless, and, having reached adulthood, finally finds a son. from childhood he comprehends science, masters the art of magic and witchcraft, studies at the school “Dragon Teaching” (in the Kyrgyz language “Azhydaardyn okuusu”), children from noble families study with him, but turns out to be the best among them in learning, and later grows into brave warrior. Judgment, honesty, courage make him famous. At a young age, Almambet becomes his father's successor, leading all the troops of the Chinese army. One day, while hunting, he meets Khan Kökçö, who calls him to the light and to leave witchcraft. Returning home, Almambet calls on his relatives to contact new faith. Neither parents nor relatives even want to listen to Almambet. Sooronduk orders the arrest of his son, who abandoned the “faith of his ancestors.” Having escaped from the Chinese, Almambet finds refuge with Kökçö. Almambet's generosity, rationality and justice contribute to the strengthening of his glory. But the horsemen of Khan Kökçö are jealous of their ruler’s new confidant. They spread a false rumor about the closeness of Almambet and the wife of Khan Kökçö Akerçek. Unable to bear the slander, Almambet leaves Kökçö.

And then the hero accidentally meets Manas, who went hunting with his forty horsemen. Manas has long heard about Almambet and therefore greets him with honors and arranges a feast in his honor. Manas and Almambet become twin cities.

And since Manas married Akylai and Karabyoryk 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 has taken a liking to the daughter of Khan Sanirabiga. Zhakyp wooes her, pays a rich ransom, and Manas, according to all the rules, takes Sanirabiga as his wife. The Kirghiz call Manas's wife the name Kanykey, which means “who married the khan.” Forty horsemen of Manas marry forty girls who arrived 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 foreign people, took wives from the Kalmaks and forgot the customs and morals 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 Tyulkyu, taking advantage of Koshoy's absence, raids the Katagan tribe and kills the son of the Kyrgyz hero. But Tyulkyu’s younger brother, Akun, decides to avoid bloodshed and settles the feud that broke out between the Kyrgyz and Afghans. Tyulkyu admits guilt, pays a ransom for the murder of his son Koshoy and cedes his throne to Akun. Manas and Akun enter into 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 Kökötöy (who settled in Tashkent after the expulsion of Panus), Bokmurun expresses a desire to marry Tyulkyu’s daughter named Kanyshay. On the advice of Manas, Bakai goes to Tyulky for matchmaking and performs all the required rituals.

During Manas's absence, the Közkamans arrive. she happily meets her husband's relatives and, according to custom, gifts them with everything necessary for running the household. Returning from a campaign, Manas arranges a feast in honor of his relatives. He gives them land, livestock and various utensils. Despite such a warm welcome, the envious Közkamans plot against Manas. They decide to poison the hero, take the throne and take possession of all the property of Manas. The Kezkamans find a convenient time to lure the batyr and his squad to visit. Returning after another campaign, Manas gladly accepted the invitation. Poison is mixed into the food of the hero and his warriors. The surviving Manas solders off all his warriors and returns to headquarters. The Közkamans are looking for those responsible for the failure, a quarrel breaks out between them, they all use knives and die.

The glorious Kyrgyz Khan Kökötöy, having reached old age, leaves the world. Having left his son Bokmurun a will with instructions on how to perform a burial and how to arrange all posthumous rituals, he also bequeaths to seek advice from Manas. After burying Kökötöy, Bokmurun prepares for three years to organize a funeral feast. Manas takes control of the funeral feast of Kökötöy. Numerous guests from the most distant countries arrive for the funeral feast. Bokmurun offers rich prizes to the winners of various competitions. A number of Kyrgyz elders and khans of individual clans express dissatisfaction with the fact that Manas alone controls the course of the funeral feast. They gather a council and decide to openly express their demands. But the conspirators are pacified by Elder Koshoi. He persuades them not to start a quarrel in front of numerous guests, among whom are old enemies of the Kirghiz, and promises the conspirators to pacify Manas after the funeral feast.

A year later, the conspirators demand from Koshoy that he head their embassy to Manas and help them remove the wayward ruler. Koshoi, citing his age, refuses to follow the lead of the conspirators. Then they decide to send messengers to Manas to inform him that all the noble heads of the Kyrgyz clans are going to visit him as guests. Their plan was to come to Manas in a large group, force him to make some mistake in the ritual of hospitality, start a quarrel and then make 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 arrivals are accommodated in their yurts and villages. Having seen such unity of the warriors and having become convinced of the unshakable 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 news has reached him about a campaign being prepared against the Kirghiz. The Chinese Khan Konurbay, who harbors a grudge for previous defeats, gathers an army of thousands to once again subjugate the Kyrgyz. Manas calls on the Kyrgyz khans to forestall the enemy and go on a campaign themselves, with united forces to defeat the enemy on his territory and stop all attempts to conquer the Kyrgyz. The khans are forced to accept Manas's offer. Bakai is elected Khan of all the Kyrgyz for the period of the great campaign, and Almambet becomes the main commander of the Kyrgyz army. He leads them to the Chinese capital Beijing.

After a long and difficult journey, the Kyrgyz army reaches the borders of the Chinese state. Leaving the army at a halt, Almambet, Syrgak, Chubak and Manas go on reconnaissance. Having penetrated deep into enemy territory, they hijack numerous herds. Chinese troops rush in pursuit of the hijackers. A battle ensues, the Kyrgyz manage to defeat and disperse the enemy army of thousands. According to the epic, Manas and his army (Tyumen) capture Beijing (“Beezhin” translated from the Kyrgyz language as “bad mare”) and rule for six months. The Chinese pay them tribute and declare their desire to make peace. Manas generously decides to spare Konurbai and the rest of the Chinese nobles. But Konurbay could not accept defeat and one by one kills the best Kyrgyz warriors. They die, Chubak and... Having secretly penetrated the battle headquarters of Manas, Konurbay inflicts a mortal wound on the hero, hitting him in the back with a spear when the unarmed hero was performing the morning prayer namaz. Returning to his homeland, Manas cannot recover from his wound and dies. buries the hero in. The tragic ending of the first part of the trilogy achieves realistic authenticity. Manas' dying testament speaks of tribal strife and the weakening of the power of the Kyrgyz people united by Manas. The birth of Manas's son, Semetey, already predetermines the future revenge for his father's defeat. This is how the second poem arose, ideologically and plot-related to the first part, dedicated to the biography and exploits of the son of Manas and his associates, who repeat the heroism of their fathers and achieve victory over foreign invaders.

Not even forty days pass after the death of Manas when Zhakyp begins to demand that Kanykey be given as a wife to one of Manas’s half-brothers. Manas is replaced by his half-brother Kobesh, who oppresses and seeks to destroy the baby Semetey. Kanykey is forced to flee with the baby to her relatives. Semetey grows without knowing its 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, to whom he was engaged even before birth, according to the promise of Manas. He raids Chinese territory and kills Konurbai in single combat, avenging his father's death. Semetey is betrayed by Kanchoro, who entered into an agreement with the enemy Kyyas. Having received a mortal wound from Kyyas, Semetey suddenly disappears. His devoted comrade-in-arms Kulchoro is captured, and Aichurek becomes the prey of his 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 culprits of their death are not foreign invaders, but internal enemies.

The third part of "Manas" - "Seytek" - is dedicated to the epic narrative of the struggle against internal enemies. It tells about the hero Seitek, the grandson of Manas and is logical continuation previous parts. This part contains 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 epic “Seytek” is made up of the following events: the upbringing of Seytek in the camp of the enemies of his father, who does not know about his origin, the maturation of Seytek and the revelation 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 of Manas in the heroic life of his descendants.

Manas studies [ | ]

1000th anniversary of the epic [ | ]

Ministry of Education and Science of the Kyrgyz Republic

Kyrgyz State Technical University

them. I. Razzakova

Faculty of Energy

Department of Philosophy and Social Sciences

Kyrgyz culture in the epic "Manas"

Completed by: Zhunusbekov A.Zh.

student of group NVIE-1-08

Checked by: Bakchiev T.A.

Bishkek 2010

epic manas kyrgyz tradition

Introduction

Kyrgyz culture in the Epic "Manas"

1 Marriage

2 Wake

3 Funeral

Conclusion

Introduction

Oral creativity played a huge role in the cultural life of the Kyrgyz people, the shining pinnacle 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 enormous literary significance and is included in the UNESCO database as one of the greatest creations of mankind.

Probably, oral poetry was known to the ancestors of the Kyrgyz since the 3rd century. BC e., when the term “Kyrgyz” became known thanks to Chinese written sources. Since then, Kyrgyz folklore has gradually formed and developed. A thousand years later, the epic "Manas" has not lost its relevance. There are theatrical performances and manaschi competitions are held. The best versions of the epic have been published, although it has not yet been published in full. But the most important significance of the Manas Epic 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, and customs of the Kyrgyz, covering several centuries in its context.

1. Kyrgyz culture in the epic "Manas"

“But we are sure, as long as century follows century, as long as era follows era, as long as the Kyrgyz people (and all humanity!) are alive, the epic “Manas” will live as the shining pinnacle of the daring ancient Kyrgyz spirit...” - Chingiz Aitmatov, “Shining the pinnacle of the ancient Kyrgyz spirit"

As said earlier, the Manas epic is of great importance, but it cannot be called simply an epic, because the term "epic" cannot reflect its full meaning and meaning for the Kyrgyz people.

Touching the epic “Manas” is touching Eternity, God, for “Manas” has been for the Kyrgyz people a deep expression of national self-awareness for many centuries, the highest standard spirituality, an invaluable cultural monument. This is a grandiose epic telling about the deeds of three generations of heroes: Manas, his son Semetey and grandson Seitek. Having developed over the centuries, it reflected in a vivid artistic form the culture, way of life, customs, history, ethnography, psychology and morals of the people and absorbed many genres of Kyrgyz folklore.

Thanks to the fact that the epic describes the entire life of Manas from birth, including his genealogy, to his death and the birth of his son and grandson, we can see the culture of the Kyrgyz people over several generations.

For example, in terms of material culture, the types of housing, various clothes, horse equipment, food, etc. are of interest. The epic’s message 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.

Thus, the epic tells about three world religions, including the Nestorian Christians, who are called Tarsa. Among the data on games 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

The episode of the epic dedicated to the matchmaking of Manas and his marriage to Kanykey is of 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 ritual and turns to his parents with a request to marry him good girl. At the same time, Manas points out that he conquered Karaberk, and Akylai was given to him as a hostage. In previous episodes of the epic, it is described 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 take revenge on Manas for the death of her father and kill him. Having learned that her father remained alive, Karaberk got off her horse and bowed to the ground to Manas. On the occasion of the wedding of Manas and Karaberk, a 30-day feast was held.

Defeated by the troops of Manas, the Afghan Khan Shooruk sent 30 hostage girls, led by his daughter Akylai, to Manas as a sign of submission. Manas brought the girls into the middle of the circle of his warriors and invited them to choose those horsemen 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 the Tajiks. Having appreciated the qualities of the daughter of the Tajik ruler Atemir Khan, Sanirabiyga, Dzhakyp wooed the girl and, agreeing with the unprecedented size of the bride price established by her father, returned back. After the people had collected the cattle to pay the dowry, Manas, accompanied by 12 thousand horsemen and a 40 thousand-strong army, went with his father to the country of the Tajiks. Camping near the city, Manas enters the house where Sanirabiyga sleeps. During this first date with his bride, Manas quarreled with her. She slashed his hand with a dagger, and he kicked her, and she fell unconscious. Angry at the inaccessibility of the khan's daughter, Manas struck the war drum, but his father and the wise old men stopped the army.

Invited to the wedding feast, Manas sat alone for two days in the yurt reserved for him, since none of the serving women dared to enter him because of his formidable appearance. In anger, Manas decides to destroy the city of Atemir Khan. To tame the anger of Manas, Sanirabiyga, as a sign of peace, goes to the dais and throws his white scarf into the wind. Taking all the blame for the quarrel upon herself, Sanirabiyga approached Manas and took the reins of his horse. Having become the bride of Manas, Sanirabiyga changes her name and takes the name Kanykey. The ritual of chachila is performed - showering the bride and groom with sweets. Forty knights of Manas are discussing which of them should marry which girl. At Manas's suggestion, horse racing is 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 came first - he stopped at the yurt of the beautiful Aruuke - Kanykei's sister. The last to gallop was Manas's horse. Kanykei came out, took the reins of his horse and led him into her yurt. After the feast arranged by Manas and Kanykei for the warriors and girls, in order to prevent possible disagreements between them, Manas sends the 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 warriors 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

One more interesting fact The reflection of culture is the episode of Kokotey's wake.

On the advice of Manas, Bokmurun, the young adopted son of one of Manas’s faithful comrades - the Tashkent Khan Koketey, gives the latter a magnificent funeral, and after two years - an even more grandiose funeral feast. The Karkyra valley was chosen as the place for the funeral feast, where Bokmurun resettles all his people. The epic colorfully describes the movement of a huge caravan, the head of which was distant from the tail, at a distance of three days' journey. Arriving at the place of the funeral feast, Bokmurun begins to prepare for it and sends the mighty hero Jash-Aidar to notify all nations about the death of his father and invite them to the funeral feast - ash. The ambassador is ordered to announce huge prizes for the winning horses and to warn those who refuse to come that they will face severe retribution for the insult caused by refusal. The gathering of guests has begun. Manas arrives last. The funeral feast opens with large horse lists, in which about a thousand of the best horses take part. 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 organized. The first was shooting with the goal of knocking down an ingot of gold - jamba - suspended from a high pole. Then the foot struggle of the Kyrgyz hero Koshoi with the Kalmyk Khan Joloi. After the announced and failed fight of the Plesivians and the competition in untying the camel, a duel on horses with lances (sayysh) takes place. in which the Kalmyk hero Kongurbay and Manas himself take part. This is followed by wrestling on horseback, the goal of which is to pull and throw the opponent from the saddle. The entertainment ends with the final of the race and the distribution of prizes to the winners. The Kalmyks' attempt to forcibly take away the prizes they received causes a general battle, ending in the victory of the Kyrgyz.

1.3 Funeral

In the epic we can see how the burials took place; an example is the story of the burial of Manas. To construct a burial structure (gumbez-mausoleum), part of the building material is mined outside the homeland of the deceased hero.

Kanykey, the wife of Manas, sends a caravan of 800 male camels in search of clay. The caravan traveled to many places, they searched in Andijan and Namangan, but clay was found only on Mount Kulbe. 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 strong men to mix the clay with lard. Bricks form on the melted lard. So Kanykei prepared material for the construction of a grave structure. The purpose of building a gravesite in Altai and Kyrgyz legends is clear: to perpetuate the name of outstanding heroes.

However, Kanykey did not bury Manas in 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 double of Manas. He covered it with leather, dressed it in a shroud, placed it on a tabit, and then people covered the statue with a white-woven felt. A funeral ceremony was performed and a large number of people were gathered. Among those invited were people from tribes hostile to the Kyrgyz. They behaved impudently and defiantly, started quarrels and fights. But, despite all this, the organizers of the funeral for several days generally treated all those who arrived equally, which speaks of the hospitality of the Kyrgyz people. All the gifts were distributed, the debts of Manas were returned to the people.

As soon as the fraudulent funeral ceremony was completed, enemy thieves appeared. The wife of the deceased gave them worthy of attention: gave gifts and gave away the statue. The thieves "did not see the deception." They carried the idol to the mound and lowered it to the bottom of the pit. So the thieves themselves became convinced that there was nothing to steal from Manas. This is also an example of a vivid reflection of a classic cenotaph burial in the Kyrgyz epic “Manas”.

From all that has been traced, the conclusion follows that archaeological and ethnographic data coincide with the information in the epic about the 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 its historical and literary significance, the epic is proof of the antiquity of Kyrgyz culture and its wealth.

The customs I have outlined (marriage, wakes and funerals) are only a small part of what 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 full proves this. All versions of the epic must be printed in full and on different languages so that the whole world knows about the Manas Epic, like the English epic about Robin Hood.

The epic is imbued with patriotism, unity, and courage. Reading it, you are filled with a feeling of pride for your people. And every person who considers himself KYRGYZ should read it.

It is not for nothing that the epic “Manas” is alive in the hearts of the Kyrgyz people, having passed the test of time. It is necessary to preserve and revive the cultural values of the 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 people, which will ensure the integrity and prosperity of Kyrgyzstan.

List of used literature

1. Abramzon S.M. "Kirghiz and their ethnogenetic and historical-cultural connections" 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 epic "Manas". - Bishkek, 1995. - pp. 9-11

3. www.literatura.kg

4. www.wellcome.kg

5. www.google.kg

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