Volume 03 Issue 09-2023
212
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
09
Pages:
212-217
SJIF
I
MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
A
BSTRACT
The epics of the "Goro'gli" series are a unique phenomenon in world folklore and show the depth of their
historical roots as they spread over a wide geographical region. Examples of this epos in the Near and
Middle East, Central Asia and the South Caucasus region are mainly Turkic peoples (Turkish, Azerbaijani,
Turkmen, Uzbek, Karakalpak, Kazakh, Kyrgyz, Tatar, etc.) and neighboring peoples (Armenian, Georgian,
Kurdish, Tajik etc.) are found in oral works.
K
EYWORDS
Multi-layered and colorful, historical roots, epic, Bakhshi, Goro'gli, folklore.
I
NTRODUCTION
Today, over 500 epics with versions and variants
are stored in the Folklore Archive of the Institute
of Uzbek Language, Literature and Folklore of the
Republic of Uzbekistan[1,339]. About 200 of them
belong to the "Gorogli" series and their versions
and variants[2,173]. We can see from the
statistics alone that "Gorogli" epics: a) have a
significant place in the epic treasury of the Uzbek
people; b) the content is extremely rich, multi-
layered and colorful. The historical roots of the
epic series are based on a scientific-theoretical
connection to the mythology of the dying nature
and the sun [3,220].
Bakhshis summarizes the epics of the "Goro'gli"
series in traditional numbers of forty, sixty-four,
Journal
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Research Article
IN THE UZBEK "GO'ROGLI" SERIES, THE HERO TRAVELS
ACROSS THREE WORLDS
Submission Date:
September 20, 2023,
Accepted Date:
September 25, 2023,
Published Date:
September 30, 2023
Crossref doi:
https://doi.org/10.37547/ijasr-03-09-35
Farrux Jabborov
Institute Of Uzbek Language, Literature And Folklore Of The Academy Of Sciences Of The Republic Of
Uzbekistan
Volume 03 Issue 09-2023
213
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
09
Pages:
212-217
SJIF
I
MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
and one hundred and twenty. According to
Academician Tora Mirzaev, more than 100 of the
"Goroguli" epics spread among the Uzbek people
have come down to us in live oral performance in
two epic traditions - the tradition of internal
muffled voice and external open voice [2, 182]. It
is characteristic of folklore law that the
composition of such a large-scale and huge
collection did not happen in two or three
centuries, but rather, it was formed along with the
artistic thinking of the people for centuries,
perhaps over thousands of years.
Further research on the epics of the Uzbek
"Go'rogli" series reveals new conclusions about
the system of images and the genesis of the main
motives. Researchers are paying attention to
aspects that have not been given much
importance before. In particular, it is clear from
the analysis that the trips organized by Gorogli
and his descendants were carried out in
horizontal (across the earth) and vertical (lower-
erosti, underwater and upper-blue surface)
directions.
It is natural that mythological details are not
visible in the epics recorded in the environment
of the 20th century when the realistic demand for
the epic has increased. But if you look closely at
the artistic textures of the works in the series, it is
not difficult to find references to vertical journeys
inherited from the ancient beliefs of our
ancestors. The epic "Malika Ayyor" performed by
Fazil Yoldosh's son is characterized by a clear
description of Gorogli and Avazkhan's journey
into the world of romance.
Gorogli meets Malika Ayyor during his trip to
Shakarkol in Zebitchol, breaking the taboo.
Sultan's "Where are you from?" In response to his
question, the fairy said "...I'm from the city of
Shabistan... If you look for it, you won't find it on
the ground, A cemetery that hasn't seen the sun
for a while, If you ask me, I'm from a cemetery...
My city's horse is called Torkiston, Bor, Gorogli,
I'm from Torkiston" [4,8- 9], he answers.
In a song sung in the language of Malika Ayyor, it
is clearly stated that her address is underground.
Shabistan means dark land. In the next lines, it is
emphasized that the homeland is not on the
ground, it is a place where the sun does not set, it
is under the soil like a grave. The meaning of the
land of darkness is also hidden in the toponym of
Torkistan[5, 11].
Avazkhan, not Gorogli, will travel to Torkiston. He
will be accompanied by Assad and Shodman
snipers. In all variants and versions of the epic, it
is repeatedly emphasized that the location of
Torkiston is unknown, and no one knows the way
to get there. It is not for nothing that the snipers
ask Avaz if he knows your destination when he
reaches the Beldos coast. "We left the face of the
world. "Now we are going to the edge of the
world" [4, 37] is extremely important, and it
corresponds to the imagination of our ancient
ancestors about the three-tiered world, the world
of love. Bakhshi says in the language of the
cowardly snipers, "We should go underground,
then we should go to Torkiston" [4,46], or in some
other way, he constantly reminds us of the visions
of Malika Ayyor's destination.
Volume 03 Issue 09-2023
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International Journal of Advance Scientific Research
(ISSN
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2750-1396)
VOLUME
03
ISSUE
09
Pages:
212-217
SJIF
I
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FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
After a long journey full of trials, Avazkhan,
Shoqalandar (real Gorogli, disguised), Shozargar
(real Hasankhan, disguised) reach Koklamtok.
This mountain has three hundred and sixty
gorges. Involuntarily, it comes to mind that there
are also 360 degrees of a circle. So, Koklamtog
surrounds the earth, but it cannot be crossed.
Because something placed crosswise it at the gate
of Torkiston, like a picture of a mountain.
Shokhalandar "Yoril!" if he hits, he will give way.
A great river flows out from under Torkiston's
threshold, on the right fat of which the Black
Vulture waters, and the one who rides it carries
away the Queen, and the others burn to death in
the harbor under the fire of forty thousand
dragons.
Shoqalandar, Shozargar and Avazkhan overcame
hardships and went down to Torkiston. The
depiction of epic spaces usually moves from epic
to epic. But the description of Turkistan is
incomparable and unique, we can find it only in
the mythology of the Turkic peoples who have not
yet reached Islam. It is permissible to look for its
roots in those times and those sources: "This
Torkistan is such a city: it was made in the dark
by fairies and giants with prayers and magic. It
was from the world of darkness itself. This
darkness did not strike the world like the day and
the moon of the bright world. "With this moon, we
will not need the sun," he made the moon out of
good diamonds and precious stones, and the sun,
and the stars out of small, sharp precious stones.
In this darkness, the city of Torkiston was so
bright and shining" [4, 86].
Folklorist S. Sariev sees a similarity between the
epic "Malika Ayyor" and the ruby epic "Olonkho"
in terms of mythological visions of the world
consisting of three layers: the middle layer, that
is, the forces of the earth and the good forces of
the sky in the form of birds, work together to win
over the evil forces of the earth. is the only core
plot in two epic works [6, 124]. When examining
the main motifs and genesis of the imaging system
of the epic "Malika Ayyor", it is known that it goes
back to the ancient mythology of the sun, beliefs
about the goddess of the moon, mythical views
born from the primitive man's attempt to
understand death[7, 57-59].
There are other epics belonging to the "Gorogli"
series, whose heroes travel to the blue face or
underwater. It is being talked about in Uzbek epic
studies, and the first studies are being conducted.
And in the epic "Mashriko" recorded by the son of
Fazil Yoldash [8, 209], while Gorogli was going to
Shahrizar (Zarrin el, golden city), flying camels
carried him over Ghirot on a narrow road
between high mountains. They were the celestial
giants of Shahrizar's queen Mashriqa. At the end
of a difficult journey, Avaz Khan saves his father
and returns to the princess. Interestingly, in the
Greek legend, Jason and the Argonauts face the
constantly clashing rocks that Avazkhan faces.
The difference is that there is no sea in the Uzbek
epic, the events take place on land. The factor that
moves the Omen mountains is the trick wheel in
the cave, which is turned by a legendary old man.
Another interesting fact is that in Uzbek folk
epics, the gap between the worlds is called
"bandargoh", "bandargi", i.e. port. The fact that
Volume 03 Issue 09-2023
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International Journal of Advance Scientific Research
(ISSN
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2750-1396)
VOLUME
03
ISSUE
09
Pages:
212-217
SJIF
I
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FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
the princess's name is derived from the word
Sharq (kunchiqar), and Shahrizar is related to
gold, which is a symbol of the sun, also makes it
clear that the hero's journey in this saga was to
the sky.
Mythological layers are also densely preserved in
the epic "Abduction of Agha Yunus" written by
Hazratkul Khudoyberdiev. The King of Tilsim,
Ahmon Dev, found out that Sultan Gorogli had
gone on a six-month hunting trip with forty young
men and a thousand servants, and his old illness
returned. He was in love with the fairy Yunus
from a young age, but in the competition, Gorogli
had the upper hand. Ahmon takes advantage of
the favorable situation in thirty years and takes
away the fairy Yunus. Avazkhan goes to save his
mother who has been caught. "The city of Tilsim
was visible to the human eye in a dome covered
with glass" [9, 288]. The immortal drunkard
reveals the secret to the young man. He holds a
dragon's tooth in his hand and says that if he
touches it to the glass, it will let go, and when he
walks inside, the back will become glass again.
"Two rivers will come out in front of you. One
flows toward the sunrise, the other toward the
sunset. Neither you nor your horse should drink
from the river that flows at sunrise. The water of
the river flowing into the sunset is juice. River
water flowing at sunrise is poison. If you pass
through them safely, there is a big cave, there are
a thousand dragons in this cave. These dragons
take turns to hunt the road. If you show this tooth
to this dragon, it will freeze in place. After passing
through this cave, after walking for a season in the
dark fog, you will reach the city of Tilsim..."[4]
"Glass Mountain was a mountain made of one
talisman, Glass Mountain was a mountain made of
one talisman, which was like a forty-story floor.
Going to this mountain, Avaz Khan struck the
tooth of the still dragon given by the Immortal
Maston. A gate opened from one layer of the
glassy mountain and went to another wide world.
They always covered his back with glass" [4].
In the land of giants, Avaz Khan is helped by a
servant girl from humans, brought from Kuyistan
- the lower country. This is a hint that the city of
information Tilsim is in the sky. Avazkhan again
passes through the cave and goes to the peaceful
garden of the giant: "The peaceful garden is as
bright as the day, there are various bright stones:
white, red, yellow, blue stones fill the garden with
light" [4]. The genesis of this epic, rich in magical
images, can certainly be revealed by relying on
the pre-Islamic Turkish mythological worldview.
In the epic Tarkibadakhshan[10 1814] recorded
by Chori Umirov, Avazkhan brings princess
Gulrukhsor from the land of the underwater. But
he himself does not go directly to the bottom of
the lake but uses the help of giants. In the "Nurali"
epic, written by Fazil Yoldosh's son [11, 118],
there is a story about Gorogli's granddaughter
Nurali marrying the princess of Oqtosh
Marguman, then the birth of their son Jahangir
and the drowning of the three of them in the river
Maskan, the couple being separated on two banks,
and the child being swallowed by a big fish. will
be done. It can be seen that this work reflects the
ancient views of our ancestors on the world of
water.
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International Journal of Advance Scientific Research
(ISSN
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VOLUME
03
ISSUE
09
Pages:
212-217
SJIF
I
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FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
The Uzbek "Goro'gli" series consists of epics
about the journeys of Gorogli himself, his adopted
children (Hasankhan, Avazkhan), grandchildren
(Ravshan, Nurali) and great-grandson (Jahongir)
on the land to east west, south-north, underwater
and blue face. It is considered an extraordinary
creative phenomenon in world folklore as it
forms a four-step complex genealogy. New
studies on the genesis of epics show that the
Uzbek "Go'rogli" series did not appear in the
following centuries through the appropriation of
material from other sources, but on the contrary,
it was formed as a product of a holistic worldview
at the mythological stage and grew into large epic
genres as a result of the evolution of artistic
thinking. In order to confirm the conclusions
about this, there is a need for comparative-
typological,
comparative-historical
and
comparative-genetic studies with the materials of
Altai folklore, including the Turks who have not
yet been converted to Islam.
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Volume 03 Issue 09-2023
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International Journal of Advance Scientific Research
(ISSN
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2750-1396)
VOLUME
03
ISSUE
09
Pages:
212-217
SJIF
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MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
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