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ABSTRACT
The article discusses the lyrical genres, which are considered the verbal component of the marriage wedding
ceremony, their study on the scale of World folklorism, Genesis, poetic progress; the importance of ethnofolchloristic
aspects in the creation and exploration of lyrical genres.
KEYWORDS
Ceremony songs, wedding ceremony, verbal act, girl bazmi, die.
INTRODUCTION
In almost all scientific research devoted to theoretical
issues of folklorology, folk creativity is considered one
of the types of intangible cultural heritage that
progress in a way that depends on socio-cultural
evolutions of a certain time in the past of society.
Already, the science of history illuminates the
phenomena in the development of the human society
with the help of facts (narrative). In folklore, on the
other hand, the essence of a certain reality in folk
memory is used first through a modified statement,
and later through an evolution of the stages of the
memo
–
fabulat
–
plot, based on artistic texture.
The scope of such an interpretation is so wide and
attractive that in its bosom ancient inonch and faith,
myth, myth, narrative and ritual songs, as well as the
figurative sealing of ethnic late elements are evident
through scientific conclusions derived from factual
materials acquired by the people of science by this
Research Article
RELATED TO THE MARRIAGE WEDDING CEREMONY IS THE STUDY OF
LYRICAL GENRES
Submission Date:
January 01, 2024,
Accepted Date:
January 06, 2024,
Published Date:
January 11, 2024
Crossref doi
https://doi.org/10.37547/ajps/Volume04Issue01-06
Turgunov Sherali Dolikhonovich
Doctor Of Philosophy In Philology (Phd) Turan International University, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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VOLUME
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31-37
SJIF
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time. Such a creative organ is especially vividly
manifested in the nature of lyrical genres, which
compactly and beautifully express the desires, anguish
and dreams of the masses that create it. For a
representative of the Uzbek mentality, first of all,
spirituality from substance is significant, and in the
spiritual world of the domestic life of our compatriots,
it is aesthetics that occupies a high place. Therefore,
since ancient times, the ability of a special talent to
express the impression of an event witnessed by
everyone with a unique and impressive artistry has
been creatively mastered, since it is in accordance with
the excitement of many at that moment. This artifact
has found an artistic polish with new poetic methods
and means, equal to the transition from ancestor to
generation, from time to time. This process is formed
mainly in the content and execution of the verbal
element of the ritual rituals of the ancient world.
Consequently, it is indisputable that the wedding in the
composition of the domestic ceremonies of the Uzbek
people played an important role in the collective
system of our national culture. The wedding is a public
event aimed at a full-fledged tablecloth and joy, which
has been preparing for many years with the intention
of bringing applause from the people to the grown
child of the household. In particular, it is known to
many that the ethnosemantic nature of a wedding and
the stages of its transfer have their own complexity.
STUDY
Marriage wedding and, in general, ritual folklore, as
well as the genres contained in it, are widely studied in
the folklore of the peoples of the world, including
Russian. For the emergence of the scientific tradition in
this regard, at the beginning of the XIX century
I.M.Snegiryov and A.V.The research carried out by the
teretshenko is considered the main source. They were
followed by a.A.Potebnya has extensively researched
ritual song symbolism, focusing on the study of genres
of ritual folklore. Issues of poetics in Russian ritual
songs A.N.It was further explored in veselovsky's
studies. His theories of" primitive syncretism"," game
syncretism", and" choral poetry " served as a later
theoretical foundation in the study of the genesis of
national folklore and ritual songs [12,128-154].
A.N.Veselovsky's theoretical views on ritual songs
were published in E.V.Anichkov [1] and P.G.Continued
by the bogatirevs [9]. P.G.Bogatirev, alternatively,
a.N.Veselovsky abandoned his method of diachronic
analysis of the verbal acts of the ritual and applied the
synchronous method [11,450-496]. Ritual songs of the
Russian people, moreover, V.Chicherov I, V.Ya. Propp,
V.M.Zhirmunsky; B.A. Ribakov, V.V. Ivanov and V.N.
Toporovs got a wide place from the works of [19,29-
68]. The issue of thematic, figurative system and
semiotics of ritual songs has also been studied to
varying degrees in the studies of other Russian scholars
[2,172;3;4].
DISCUSSION
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The famous Russian folklorist V.E.Gusev, while
meditating on the varieties of folk songs, writes: "on
the basis of the aesthetic classification of folk lyrics, the
aesthetic attitude of the creator public to reality and
the various emotional experiences of the executive
team must stand, then Labor, heroism, honorific,
elegiac, humorous and satirical songs are manifested
as the main genres of oral lyricism” [13,545].
E.P.Zhiganova notes that udum, similar to the "girl
bazmi"in Uzbek ethnofolkloris, gives information that
the Russian people also existed in the past life. The
Russians called him" devishnik". He clarified that "on
the eve of the wedding, a" devishnik " was held, in
which the future bride would say goodbye to her
girlfriends and relatives. "Devishnik"featured mostly
silent lyric songs. Their bright aspect, which stands out
from the other songs played at the wedding, is seen
when they are rich in humor, poetic symbol, escapism
and exaggeration” [18,16].
M. G. Matlin, a researcher in his dissertation on the
ritual songs of the Volgaboyi Russians, mentions the
"devishnik" performance, and draws more attention to
the artistry of folklore samples performed at this
event. According to him, the lyrical songs performed at
Russian weddings are essentially divided into the
following two groups: the first one¬¬¬
–
samples of
musical speech that are directly related to a certain
stage of the wedding ceremony, that interpret it in an
artistic tone, complement it, emphasize it; and the
second group includes "korilnye pesni" (we did not
find this translation and an adequate genre in the
studies of Uzbek folklore - Sh.T.). According to M. G.
Matlin's observations and conclusion, "korilnye pesni"
has a unique rhythm and rhyme, and is a type of song
full of humor, which is performed mainly by a duet,
which makes guests laugh and amuse themselves. In
our opinion, the "korylnye pesni" sung by the Russians
is close to the nature of the Olan genre in Uzbek
folklore.
Another collector-researcher of Russian ritual songs, V.
P. Shane, in his book "Family Ritual Poetry of the Great
Russians" cites many examples of devishniks sung by
the people of Kaluga and Vitebsk at weddings.
Examples of centuries-old oral creations related to the
ceremony and the wedding songs included in it have
been studied to a certain extent by the scholars of the
brotherly Turkic peoples. [14,26; 17,22;]
In our opinion, among the Turkic peoples, Kazakh
folklore studies and art studies are the most studied
subjects of the ceremony and the oral lyrical and vocal-
musical act performed in it. For example, E.D.
Tursunov, in his monographic study entitled "Origin of
Bakhshi, Aqin, Chechan, and Jirov", describing the skills
of "akyn", "jyrau", "jyrshy", "sheshen" and "synshy",
improvisation in their performance He insists that it will
pour like a noise.
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Edige Darigul uli Tursunov's performance of ancient
Turkic, Uyghur, Ottoman Turkish, Azerbaijani and
Kazakh aqyns of "engaging in battle", "taking hard",
"distracting the opponent and achieving victory"
corresponds to the principles noted by M. Alaviya in
the performance of Uzbek folk songs.
In Kazakh folklore, there is a genre of "qayym aytys"
that corresponds to the poetic features of our olan
genre, and its famous representatives such as Janaq
Sagindik uli, Suyunboy Aron uli and Sora Tastanbek's
daughter performed it in the past centuries. Kazakhs
use the term "aytysker" in an adequate form to our
term "harifdosh" ("harbadosh").
According to the Kazakh folklorist M. Karataev, who
carefully studied the "Qayym aytys" genre, the first
two lines, which count as the beginning (zachini) of the
four-line qayym aytys, are repeated in the first two
lines of the soldier's answer, and then in the third and
fourth lines, they are very funny, mixed with
exaggeration or metaphor, to the applause of the
audience. a worthy poetic thought is expressed. As a
result, harmony (euphony) and meaning appear at the
same time between the words of the soldiers, and the
fight for the victory in the battle of words begins.
When the time comes, it should be noted that Sh.
Imomnazarova's "Kara oleň" in Kazakh folklore has
common aspects with the genre of Olan in Uzbek folk
art according to its poetic construction and poem
structure. it cannot be fully agreed with the idea that
it is. Because the occupation of "
ө
le
ң
" in Kazakh
folklore is used in a broader sense than the Uzbek word
O'lan. For evidence of our opinion, we cite the point of
view of the Kazakh researcher Nisanbek Turekulov in
this regard: "oral poetic lyrics are divided into socio-
political (non-formal) and domestic-ritual. To the first
group and arni (anthem song), historical
ө
le
ң
, black
ө
le
ң
letter-
ө
le
ң
lar related. ... Household-ceremonial
lyrics include toy Bastar (songs performed at the
beginning of the wedding ceremony), jar-jar (singing
duets), bet-ashar (songs at the opening of the bride's
face), etc". . In Uzbekistan, the term olan is not used in
such a broad sense. In 1945, Ozdavnashr published a
collection of poems called "Abai Olanari". This book,
translated from Kazakh by Mirtemir and Uyghun, does
not have a single poem that meets the requirements of
the olan genre. Because neither Abai himself nor
Kazakh literary and folklorists used the terms "die" or
"black die" in the sense of the essence of the olan
genre that we are studying.
According to folklorist Hamit Yarmi, examples of the
wedding ceremony in the Tatar folk lyrics, which
correspond somewhat to the Uzbek olans according to
genre characteristics, are called "Jimchechak".
There is also a genre corresponding to the essence of
the forest in the weddings held by the Karakalpak
people. This fact was emphasized by Sh.Kh.
Imomnazarova in the research mentioned above.
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According to the scientific research and folkloristic
textbooks created by Karakalpak scientists, they also
conduct a cheerful dialogic speech during the hen
party ceremony as "aytis". Samples of this genre were
studied in the 40s of the 20th century by O. Kojurov and
K. Ayimbetov, and in the 50s by N. Baskakov and N.
Devkaraev [5,224;10,127;15;]
Samples of spoken lyrics similar to Uzbek olans
performed at weddings have also been thoroughly
studied in Tajik folklore studies, and the name of the
genre is mainly "badeha". [6;13;]
Like other ethnic groups of Central Asia, in the past, in
the life of peasants and herders living in the steppes
and mountain slopes, which made up a large part of
our people, weddings did not pass without a funeral
ceremony. It served as a unique communicative-
aesthetic model of the ethnoculture of nomads who
lived in times without mass media, radio and television
and mobile social networks. As mentioned above, Olan
in Uzbek folklore is a lyrical genre based on the dialogic
speech of contemporary artistic talents. A number of
scientists have made occasional or special scientific
observations about the specific theoretical features of
this genre.
For example, H. Razzokov: "Olans are widespread in
the Ferghana Valley, mainly among the herdsmen in
villages and mountainous areas. Olans can still be
found among the Karabash, Bekzoda, Barlos clans of
the population who still call themselves "Turks".
Olanar - in "bride-dropping" ("bride transfer")
weddings, in the style of arguments between the bride
and groom, like lapars, sometimes hospitality sittings:
parties, conversations are performed by qualified
olanars in a biased way” , ¬¬¬¬–
wrote that.
This passage was one of the first scientific
comments about the function and poetic features of
the genre of the olan, expressed fifty-five years ago.
While gratefully noting the contribution of the author
of the article to the development of Uzbek folklore, it
should be noted that theoretically, limiting the scope
of the spread of the folkloric tradition to the
inhabitants of the mountain villages of the Fergana
Valley needs reform. After all, olan is widely performed
not only in other regions of Uzbekistan, but even in the
oral art of the Turks of Northern Afghanistan.
Examples of the modern folk songs of the Uzbeks of
Afghanistan were included in the collection published
in 2019 by the well-known Kabul scholar Faizullah
Aymoq [8], as well as the Afghan linguist-folklorist
Muhammad Qayum Azizi and Professor Temur Khoja
Ogle of the University of Virginia [7].
In addition, as Sh.Kh. Imomnazarova rightly pointed
out, "The etymological basis of the terms "olan"
(Uzbek) // "ölen" (Turkmen) // "öleň" (Kazakh) //
"yölen" (Uyghur) in the folklore of the Turkic peoples
of Central Asia It is proved that it is related to the
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lexeme "ula" which means "song" and is based on the
verb "ola/ula" which means "to sing" and "to dance" in
the ancient Turkic language .
Sh.Kh.Imomnazarova expressed this opinion in more
detail in the preface she wrote to the collection of
Uzbek folk songs in co-authorship with M.Joraev.
Muzayyana Alaviya, who was one of the first to study
Uzbek folk songs in general, especially the olan genre,
paid special attention to such issues.
CONCLUSIONS
1.
Ethnofolkloristic aspects are important in the
creation of ritual songs, their genetic basis.
2.
The "devishnik" genre in Russian folklore is
essentially close to the "girl's party" in Uzbek
folklore.
3.
Samples of oral lyrics similar to Uzbek olans
have been thoroughly studied in Tajik folklore
studies, and the name of the genre is mainly
"badeha".
4.
The weddings held by the Karakalpak people
also have a genre corresponding to the nature
of the forest, and they call it "aytis".
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