Comparative typology of the oral epic poems “Alpomish” and “Jumong”

The importance and necessity of the theme of the thesis. The epic poem “Alpomish” is the most valuable monument of the Uzbek people’s ingenious folklore. Patriotism, bravery, unity and creativeness arc glorified in every version of this epic poem listed in the repertory of Uzbek Bakhshi. This majestic epic poem, being the Uzbek people’s national pride, has given every person great spiritual force over the past centuries. Therefore, “Alpomish” is considered to be an invaluable heroic epic poem representing the Uzbek people’s uniqueness and glorifying their historic development. The president of the Republic of Uzbekistan I.Karimov wrote that the Uzbek people, striving to maintain this uniqueness since ancient times, have brought up their children in the spirit of patriotism, gallantry and honour to sacrifice themselves for their compatriots. In this sense the precious gem of national oral works “Alpomish” represents the heroic song, which has been passing down from generation to generation, showing the uniqueness of the Uzbek people. If the Uzbek people’s long and glorious history is represented by the epics, “Alpomish” represents outstanding couplet of these epics'.
The epic poem “Alpomish” depicts the valour of the young men, who cherish honour and consider heroic history of the Uzbek people, their hearth and home, and their calmness to be sacred. Everything that is depicted in “Alpomish” has exerted a big influence on artistic imagery and aesthetic views of Central Asian peoples. In relation with this, definition of archaic plot that had made appearance of plot of the epic poem, illumination of its evolutionary stages from the repertory of local “Bakhshi” and research for their influences on the epics of other nations is the actual assignments for the folklorists.
Historical-typological features of the Uzbek national heroic epics have been studied only in terms of folklore materials of Central Asian Turkic peoples up to the present time. General features of the epics of non-Turkic nations have been examined only in comparison with Homer’s “The Odyssey”. However, researchers have not paid attention to the study of the influence of Turkic epics on the folklores of East Asian peoples including Korean. They have not figured out the problems of genetic similarities and common features of heroic epics of these peoples, cither. Whereas, while the Uzbeks, especially the epic narrators from traditional epic performing school of eastern Uzbek area still perform such ancient epic poem as “Alpomish”, the Koreans have preserved the ancient performing traditions through epic songs, shaman songs and Pansori. One of those great epic poems, which have played an important role in the development of exclusive national spirituality of the Korean people, is the epic poem “Jumong” regarded as one of the oldest model of Korean folk talcs. In view of the fact that epic singers performed this epic poem, it is recognized as archaic model of heroic epics.
Lofty ideas expressed in “Alpomish” have contributed a lot to the spiritual renovation of the Uzbek people just as much as the Korean heroic epic poem “Jumong” represents one of the emotional props constituting the root of development of Korea. This testifies how close to each other the mental values of these two peoples arc. The president of the Republic of Uzbekistan I. Karimov, indicating that South Korea can be ranked among forward nations in such a short period and stating several factors that made such impetuous development possible, writes that the Korean people in the course of building their state have turned into a great creative force, whereas they arc highly appraised for their spirituality1. Therefore, it is important to testify essential characteristics of epic imagery of these two nations and common features appeared in their ancient traditional origins of folk talcs, based on the comparative analysis of the national heroic epic poems “Alpomish” and “Jumong”.
Research on the study of genetic origins of the Uzbek and Korean folk tales will elevate the level of epic study of Korea. Since the researchers, who have studied the history, advancement and law of development of the Korean folklores, consider that the genesis of heroic epic poems ascends to epic traditions of Central Asian peoples. It is necessary to pursue a comparative research of the Korean heroic epics with one of the ancient heroic epic poems of Turkic peoples in order to evolve these scientific views, i.e. to establish academic concepts that genesis of the Korean national epic poem ascends to the archaic tales of “Paleolithic-Asian culture” created in ancient Central Asia. On the basis of comparative study of the outstanding model of the Korean folklore “Jumong” and Uzbek heroic epic poem “Alpomish” it is essential to figure out the history of its origin and law of historical-evolutionary development.
The purpose of the research: The main purpose of this research work is as follows:
to state the historical basis of the Uzbek and Korean national heroic epic poems and their specific features;
to give evidence on the role of shaman mythology in the process of shaping of heroic epic poems and its subsequent development;
to depict features common to the heroic epic poems of both nations.
CONCLUSION
Despite the fact that Uzbekistan and South Korea arc geographically far away each other, and they differ from each other in lifestyle, culture, literature and arts, it is quite surprising that their folklores arc very close. As we have researched the epic poems “Alpomish” and “Jumong” by means of the comparative typological analysis, we could be able to reveal many similarities in these two epics. Our study has proved that the Uzbek and Korean national heroic epics as well as the two ethnic groups stemmed from the same “Altai language family” as well as the common genetic roots share many similar features in the course of historic developments.
Based on the study of the Uzbek and Korean folk heroic epics through comparative typological, comparative historical, psychoanalytical methods and theoretical foundations, the following conclusions have been drawn:
1. The epics “Alpomish” and “Jumong” are structurally composed of five parts: 1) the aristocratic origin; 2) the miraculous birth; 3) the prosecution and dismissal; 4) the manifestation of miraculous powers; 5) the danger and overcoming it. Each of the popular heroic epics is similar to each other in plot structure.
2. We can sec the aspirations and expectations of the people that the heroes should realize in “Alpomish” and “Jumong” through the motif of unnatural birth of the hero. The epic heroes were obtaining new names after their miraculous successes. This means that the heroes became the socio-political subject and an Alp (hero), i.e. his rebirth as a hero.
3. An enormous attention is paid to the motifs of various contests and struggles in the epics “Alpomish” and “Jumong”; the struggle between the brothers, the contest for choosing the groom, the struggle for the throne, etc. All these contests and struggles arc considered the stages of initiation into becoming a hero.
4. Firstly, the interpretation of the motifs of archcry in the both epics denotes the recognition of the hero as a hero and the new naming of the heroes means their “rebirth.” Secondly, the heroes’ victory over their rivals, their election as leaders means the patrons’ recognition of him as heroes who had received education from the saints. Thirdly, the main mission entrusted to the epic hero is to put an end to fragmentation of society. The heroes in the epic poem, who displayed their ability in archcry, showed their relationship with the sun God, i.e. archery showed its superiority over the other. It is a symbol of exposing strength and power. Fourthly, the genetic basis of archaic imaginations expressed in the motif of archcry is related to shamanism in Siberia. Moreover, it is important that the journey into the world of spirits was expressed in the shamans’ view on the mythological cosmogony. It is known that the shamans of Siberia in their travels to the Heaven, i.e. the Upper world considered as the abode of spirits took a bow with themselves instead of a drum.
5. The image of horse is very important in the epics “Alpomish” and “Jumong”. Horse is a zoomorphic symbol of the ruler. The assistants who chose a good horse for Alpomish and Jumong have a particular importance. Firstly, a horse is considered an expression of the force of law in the mythology. Secondly, a horse symbolically expresses cults of both the sun and throne. In Korea the white horse was regarded as a sacred animal, and the Turks counted the piebald horse their cult. Thirdly, the Siberian shamans looked upon a horse as their patron.
6. If the epos “Jumong” is the epic poem about the founder of the state, the epos “Alpomish” is an example of the national epos glorifying the appearance of nation and strengthening of Uzbek statehood. In this respect if we consider the desires and drcams as subconscious feelings of a nation, the highest arts arc reflected in the epos.
7. The epics “Alpomish” and “Jumong” are considered as the epics that could cover all the ancient mythological worldviews of the people. These epics originally appeared in the form of shaman epics and later evolved into the heroic epics.
8. In the heroic epic poems, the represented image was designed to show the hero’s capabilities and to make an idol of the civilized hero. In the course of centuries, the archaic epic mythology or civilized character or the cult of demiurge disappeared and Korean heroic epic became to be recorded and published in the form of short stories and legends. There arc hypothetical views that the first Korean epic songs of mythological imaginations about the founder of the state might be performed as shaman epics. Shaman epic songs that were performed during the cult of statehood ceremony later emerged as a sacred ritual “Gut” invoking the divine ancestors. Then epic songs began to spread in the form of epics glorifying the history of the demi-god and demi- human recognized as builder of the new state.
9. The main hero of the epic about the ancestors who had built a state made an appearance as a demi-god and demi-human. However, the epic focuses more on its human qualities. At first shaman epics turned up and then epics about state founder began to appear. Over many centuries, both the epics were evolving together. The heroic epics appeared comparatively later and developed with shaman epics in the form of archaic epics. However, the heroic epics gradually settled down as chief epos genre expressing the basis of statehood. With the emergence of state, the practical functions of ancient shamanic epics began to fade. Moreover, the events associated with the state construction secured a consistent development for the heroic epos. This hypothesis fully corresponds with the Korean epos “Jumong”.
10. The epos “Alpomish” does not give any information on the founder of the state. However, we become aware of the process of integrating tribe as a nation in this epos. In ancient times, shaman epic songs were performed in rituals dedicated to the cult of ancestors. The shaman’s role in this performance was great. As is known, the shaman was not only performer of epic songs, but also served as a healer. In addition, the shaman as a priest brought good luck to hunters with his magical spells. For some nations, the archaic shamanic practices have been continued and preserved up to now in their folk tales. However, as the lapse of time only the Bard (Bakhshi) became to perform the epic songs. This assertion could be supported by the linguistic and etymological study on “Bakhshi” (Bard) and its genesis. Currently in Korea, male shamans arc called “Baksu”. The etymology of this term is of an ancient origin and is widespread among the narrators in many East-Asian nations, still maintaining its ancient attributes.
11. The Altai epos “Alip-Manash”, an ancient version of “Alpomish”, contains numerous details associated with shamanism. According to the storytelling tradition of Altai, a man could learn from his dream that he would become a shaman (Bakhshi). This motif is the same with the idea to previse through God's prediction that the community concerned will become a state. The second motif is a common imagination about belief in the sacred tree. The third motif of this tradition is associated with “Munojat” (“prayers to God”). “Munojat” has existed in shamanism since Islamism appeared in Sufism in the original form.
12. The epos “Jumong” is closely interrelated with the shamanism of the ancient Turks who resided in Siberia. The first evidence of this motif is to pray to God at the tree depicted in the epic poem, the second is the interpretation of images of animals. Such animals as horses and birds were divine beings of the shaman, which showed the way in celestial journey. Third is the departure of the epic hero from his homeland to “foreign land”. This is deeply intertwined with the spiritual journey of the shaman. In general, the correspondence between the epics “Alpomish” and “Jumong” states the proximity of artistic thought between the Uzbek and Korean peoples and its developing stages. Such proximity could be possible owing to the subconscious feelings of these two nations who aspire to understand the world and the human.
13. In ancient times the ancestors of the Koreans that assumably belonged to Altaic family might reside with the Turkic peoples in Central Asia. In this respect those two ethnic groups could have strong ties in cultural and economic aspects. It would be quite possible that the Turkic nations could have influenced on the formation and development of Korean heroic epic poems. As a result of comparative study between “Alpamish” and “Jumong”, it has been revealed that the narrative structure of the Korean epics and the development of their main motives have a deep relationship with Uzbek oral tradition and epic poems.