In Ottoman-Turkish literature, the number of poets who wrote the epic “Leyli and Majnun” exceeds 20. Among them, the epic “Leyli and Ma- jnun” by Laurendeli Hamdi, created in 1542, occupies a special place. The epic was written not only in response to the epics of Persian authors, but in the chapter “The reason for writing the epic” Hamdi also mentions the name of the Uzbek writer Alisher Navoi. This epic of Hamdi was studied in literary criticism with the epics of Persian predecessors: Nizami, De- hlavi and Jami, but was not specifically compared with the epic of Alisher Navoi “Leyli va Majnun”. In the features of the story of both poems, the description of the characters and the development of events, similarities are found. However, there are noticeable differences in compositional con- struction, genre content and in the metrics used in the epics. The epic of Alisher Navoi consists of 38 chapters and 3623 verses, while the masnavi of Laurendeli Hamdi is much larger: it consists of 5441 verses. Hamdi not only wrote his epic in masnavi, but also included genres such as ghazal and qasida in it. Alisher Navoi, who created the first Hamsa in Turkish, com - pletely preserved all the traditions of the Hamsa.
During the study of the epic Hamdi, it became known that it has similar features with the epic of Alisher Navoi “Farhad and Shirin”.
The article deals with the traditions of folklore in the works of Alisher Navoi, the role of mythology and folk art in the epic “Sabai Sayyar”, the plot of the epic in folklore, the connection of the main motives with folklore; folklore traditions in the interpretation of the composition and image system of the epic “Sabai Sayyar”; the sources of the plot of the epic “Sabai Sayyar” in the folklore of the peoples of the East and the artistic evolution of the epic plot are analyzed. The plot of the epic “Sabai Sayyar” is clarified in connection with the traditions of Uzbek folk epics.
The article talks about the history of the study of the «Alpomish» epic. Also, the versions of this saga recorded from various folk traditions, their common and unique aspects were studied. The version of this epic recorded by the son of Fazil Yuldosh, a famous epic poet and representative of Bulungur epic school, which is the most perfect and artistically perfect copy, therefore, this copy is the basis of many studies on the epic. Opinions have been expressed. The article also analyzes the research of the famous Russian scientist V.M. Zhirmunsky on this poem. The work carried
out on the “Alpomish” poem was investigated in three directions. In the first stage, information is given about the process of recording the epic from the folk dances, when, from which dance, by whom it was recorded, if the recorded copy was published, by whom was it prepared for publication, if it was not published, in which treasure is the manuscript kept.
In this article, the origin, genesis, gradual development of irfoniy epics, principles of development in Turkish and Persian literature are researched. The epics of Fariduddin Attar, Gulshahri, Alisher Navoi, Rezai Payvandi, and Salahi were analyzed. the characteristics of vazn, measurement possibilities, poetic arts, rhyme system in the epics of these creators were studied and analyzed. The article also reveals the relationship between weight and content in irfoniy epics. Also, the article expresses the reaction to the existing views and opinions in literary studies. In order to read epic verses expressively, the events of vasl, imola, tag’yir, and taslim are clarified. In the process of writing the research, the book «From the history of Uzbek epic poetry» by B. Valikho’jaev, the article «Gulshahri and Navoi» by Arasli Noshoba, the book «Genesis and ideological-artistic features of the epic «Lison ut Tair»» by Sh. Sharipov , Sh. Hasanova’s «Bird» by Maulana Khoji Qazi Payvandi Rezai»language» epic and its comparative-textological study» monograph, Z. Mamadalieva’s «Images of Lison ut-Tair: symbol and metaphor» based on theoretical views. The convenience of Ramali musaddasi mahzuf and Ramali musaddasi maksur vazns for works in the direction of irfoniy epics has been revealed.
Munojats is a literary phenomenon in Uzbek literature, which consists of an introduction to devons and poetic balls, a thematic classification of lyrical works, and introductory chapters of large-scale epic poems. In the introductory chapters of Alisher Navoi's “Khamsa” epics, prayers are accompanied by praise and glorification, and are a means of expressing the author's philosophical-mystical, divine-mystical views, personal experiences: confessions of the heart to the Creator, repentance for sins.
The article states that the content of the munojats in the preface of “Saddi Iskandariy”, the final epic of Alisher Navoi's “Khamsa”, is formed in harmony with the content of the work; they cover issues such as the author's mystical-philosophical views and the artistic expression of his ideological purpose. The article also shows the importance of the art of obedience in the expression of prayers in the epic, as well as the poet's artistic skill in creating prayers on the basis of analysis and interpretation.
In the history of the world epics study, the Arab epics has long remained unexplored, and this was the reason that sometimes there impression of the absence of an epics among the Arabs. To date, epic patterns have been considered mainly as sources of interest only to historians and anthropologists. One of the unique examples of the early medieval epic stories of the Arabs is the tribal traditions, known in Arabic studies as “Ayyam al-Arab” (“Days of the Arabs”). This collection of oral and later written narratives is not only a unique historical monument, but also a valuable philological source in its broadest sense. This article is devoted to the study of the role and place of man in pre-Islamic society, his essence and dignity, positive and negative qualities, which have reflected in ”Ayyam al-Arab. For this purpose, the selection and analysis of tribal legends – “Days” was made, on the basis of which the main participants in historical events – epic heroes were identified, a classification of heroes was made, and the question of the prototype of literary heroes in Arabic literature and their influence on the formation of literary types at the subsequent stage of its development was baised.
This article discusses the Central Asian Turkic versions of the epic "Ashyk Najep", their study and the implementation of the epic. At the same time, the issues of literary translation of the epic into other Russian and Turkish languages are studied. Differences in versions are identified.
The article discusses the features of the description of the plot system of traditional common typical places characteristic of folk epics. In particular, the ideological and artistic content of the traditional work of the folk epic, the tradition of epic images of the inner types of the epic, their similarity, similarity and difference in the image of the heroic, romantic and historical epic. the identification of which can be determined by comparing the pictorial means directly covered by the plot of typical places is revealed through the analysis of sources.
The article reveals the semantic features of the Turkic lexical units in the text of the epic “Malika ayyor” (Princess Cunning), which were widely used in the ancient Turkic language and are typical of modern Uzbek literary language, such as uzatmoq (pass), ichmoq (to drink), bolalamoq (to have children), bitkazmoq (finish), yasamoq (to make), el (nation), yo‘l (the way), olmoq (to take): The semantic features of these words taken from the text of the epic are analyzed based on primary sources.
This scientific article describes the epic interpretation of the wedding in "Alpomish" epic and the folklore, customs and regional features of the wedding ceremony.
The article provides a gradual presentation of the historical works that led to the artistically perfect depiction of the epic horse in the epics. The place of the horse in the history of the Turkic peoples, the confessions of historians in this regard, the findings of the horse in ancient manuscript sources, in short, the ideology of the Turkic peoples is compared with the image of a war horse in the epics.
As characteristic of the war horses described in folk epics, they appear to be the most perfect of the natural horses, as well as the horse features expressed in mythological and totemistic beliefs. In this respect it was understood that the war horses in the epics must be directly or indi- rectly dependent on water horses and celestial horses in order to be true tulpars.
In this article, we will take a closer look at the natural, religious beliefs and views that underlie the creation of the epic horse image in folk epics.
The article also includes “nomadic mavaniyer”, “animal-mother” traditions and beliefs, “Devonu lug'otut-turk” and commentary on Turkish words related to the horse, analysis of the image of the horse in the Karvash folk epics and interpretations took place.
In the epic "Layli and Majnun", which is the third epic of the great writer Alisher Navoi's "Khamsa", terms related to various sciences and professions of his time were used. In particular, terms related to the social, political, military, animal and plant world, related to the science of astrology (astronomy), meaning medical, musical, mineral names, related to various sciences and professions, related to religious concepts, to Terms related to 'y and mourning rites and several terms related to many other fields are skillfully used in the work.
In this article, we will discuss the semantic features of the terms used in this epic. The lexical-semantic phenomena appearing in the current Uzbek terminology and the semantic features characteristic of language units in general have been studied with the help of distributive and transformational analysis methods.
The article discusses the role and importance of folk art heritage in the development of national theater art in Central Asia. To date, the theatrical art of the region has a great experience and it has the opportunity to compare its culture with others. Epic direction is one of the points of support, one of the heights from which you can look at the experience and trends of the world of theatrical art. (72)
In folk epics, various elements of culture and spirituality are traced, and the peculiarities of a particular nationality are revealed.
The entry of the European style of theater into the framework of the culture of Central Asia certainly influenced the development of traditional theater of the people. Creative figures faced the problem of showing their performances on closed stages, in rooms.
In the pieces, folk customs are presented following a common pattern, whereas national theatres offer their own interpretation, reflecting the culture, customs, and the nation’s past. Not only essentially different pieces of the same title and subject, created by different nations, differ in style, methods, means of artistic representation and character interpretation, and never a hero of one nation is a repetition of the image created by the neighboring nation. This is how the nation’s mentality, culture, spiritual character, and traditional values are exposed. This, in turn, is a dominant feature in the evolution of theatres. Thus, the epic heritage serves as the golden treasure of the theatrical culture of Central Asia.