172
attributes of objects and phenomena, making speech more expressive and clear. Understanding
these differences helps to explore the features of each language more deeply and use adjectives
more effectively in various contexts.
References
1.
Downing, A., & Locke, P. (2006). English grammar: A university course (2nd ed.). London and
New York: Routledge.
2.
Biber, D., Conrad, S., & Leech, G. (2002). Student grammar of spoken and written English.
Harlow: Longman.
3.
Khodzhaniyazova, U. (2021). Comparison of grammatical features in English and Karakalpak
languages in the field of written speech. Society and Innovation, 2, 272–280.
https://doi.org/10.47689/2181-1415-vol2-iss9/S-pp272-280
4.
Norkulova, M. B. (2022). Stages of Karakalpak and English grammar development, their
differences and the phenomenon of interference. Education and Innovative Research, 12, 183–
187.
5.
Ismailov, K. A., & Otegenov, K. K. (1990). Russian-Karakalpak-English phrasebook. Nukus:
Karakalpakstan.
6.
Ҳәзирги қарақалпақ әдебий тилиниң грамматикасы. Сөз жасалыў ҳәм морфология/
Нөкис: Билим, 1994. — 451 б.
7.
Ҳәзирги қарақалпақ тили. Морфология. Нөкис: Қарақалпақстан баспасы, 1981. — 264 б.
THE HERITAGE OF THE STEPPE: KARAKALPAK
CHILDREN'S FOLKLORE
Bazarbaeva Miyassar, Student of KSU
Annotation:
This article examines Karakalpak children's folklore, focusing on lullabies, songs,
and games. It explores lullabies as expressions of maternal love and cultural values, while also
analyzing the educational and developmental roles of songs and rhymes. The study highlights the
unique characteristics of these traditions, their historical context, and their contribution to
language skills and cognitive growth. The research underscores the lasting importance of this
folklore in cultural preservation and children's development.
Key words:
Child folklore, lullabies, poetry, children’s games, songs , question-and-answer.
Popular oral tradition, as it appears in various literary forms and genres, is a highly
functional form of verbal art, holding both social and aesthetic importance in human history. Child
folklore is a distinct branch of this tradition, having developed into a comprehensive system of
games, songs, and musical-poetic genres that have come about through the interaction between the
world of children and the world of adults.
Lullabies.
The upbringing of a child begins in the cradle. A mother, dividing her night’s
sleep into four parts and rocking the cradle, had all sorts of hopes for the future of her young
baby.Any mother could perform this song. Although the young newborn did not understand it, the
rocking of the cradle and the pleasantness of the mother’s voice would completely soothe it,
compelling it to sleep peacefully. As Robert Graves, poet and mythologist notes in “The White
Goddess”, “The lullaby is the most ancient of all poetic forms, and is still living and evolving.”
173
[1]. This underscores the timeless importance and ever-evolving nature of the lullaby. And
mothers, under the guise of lulling their child to sleep while rocking the cradle, would pour out
their love for their offspring. In Karakalpak children's folklore, this is known as “
besik jırı
”
(lullaby).
Although “
besik jırı
” is one of the genres of children's folklore, their main authors and
performers are also mothers. Therefore, it is sometimes called “mothers' song”. The themes of
lullabies are diverse, but they are mainly dedicated to babies who are not yet aware. For example:
Ha'yyiw-ha'yyiw haydası,
Qashan tiyer paydası.
Qarag'ım menin' erjetse,
Sonda tiyer paydası.
Ha'yyiw-ha'yyiw ha'yt bo'pe,
Aq besikte jat bo'pe.
Ag'an' kelip qoy soyar,
Ettin' da'min tat bo'pe.
Balam menin' baldaydı,
Beline sadaq baylaydı.
El shetine jaw kelse,
Du'rkiretip aydaydı.
Hayya- hayya, look here!
When will its benefit come.
When my dear grows up,
That is when its benefit will come
Hayya- hayya, hey baby,
Lie in the white cradle baby,
Your older brother will come and slaughter a sheep,
Taste the flavor of the meat, baby.
My child is like honey,
He ties a quiver to his waist,
If an enemy comes to the edge of the land,
He will drive them away with a roar.
In these lullabies, the mother's desires for her child to grow up quickly,to benefit others, to
set up a bright yurt of his own, to be beside his brother, and to drive away the enemy with a roar
if they come to the border, take the main place [2].
According to R. López Tamés, the combination of singing a lullaby and rocking a baby
makes them feel calm and sleepy. It turns out, lullabies are sung in very large numbers, their
thematic scope and content are similar and have the same kind of features: easy-to-understand
poems, a relaxing, almost magical vibe, and they always speak to the child. That is, they consist
of lulling a newborn baby with the mother's endearing words [3].
Children’s songs.
Children's songs can be classified as yet another genre found within
children's folklore and hold a special place in cultures around the world. More than just simple
melodies, they are vehicles for learning, storytelling, and emotional expression. This text delves
into the unique world of children's songs, exploring their purpose, features, and the profound
impact they have on young lives.
174
A song, or other types of Karakalpak folklore, only interest children more when the
language is easy and suits their spirit. Children quickly grasp such works. On this basis, separate
sections called “Children’s Folklore” and “Children's Literature” have emerged. This situation,
of course, does not mean that children should only study children's folklore and literature. For
example, young children should study this field well. Children's folklore offers unique insights
into their world, much more than may be apparent at first glance [4]. As Brian Sutton-Smith, the
renowned scholar of play and folklore, observes in “The Ambiguity of Play”, “A study of
children's folklore reveals much more than games and songs; it uncovers the complex social and
cultural lives of children”. [5].
Any artistic work is created in certain historical periods. The fate of Karakalpak children's
folklore is similar. For example, the songs “
a'welemen-du'welemen
”
,
“
Tu'lkishek
”(Little fox)
and “
Ha' tu'yeler, tu'yeler
”
,
(Oh, the camels, the camels) which are considered the treasures of
Karakalpak children's folklore, have their own unique history of emergence.
These songs, while having an easy language, broad scope of thought, and being easy for
children to memorize and recite, are also considered the literary legacy of a certain period. For
example, “a'welemen-du'welemen”. Although it is a very national song, its name is quite unique.
That is, it is taken from the Persian words “
Avval ha, man
”,“
Duvvum ha, man
” (first-I, second-
I). When considered in this way, it originated from the genre of poets' debates in Persian literature
of the 10th century. Here, a line of the song is selected, and two to ten poets debate. The Persians
call the most talented poets “Hafti man”, “Hashti man”. The main reason for this is that these
poets can rhyme six and seven-line songs. Therefore, the words “avval” and “duvval” were the
first steps in rhyming and were later taught in schools as a kind of lesson. The Karakalpak
“
a'welemen-du'welemen
” arose on that basis. The fact that this song is based on dialogue also
expresses that idea [6].
On this way, a series of songs called “Children's Games” emerged. These, while being
games, were also recited as poetry, expanding their horizons.
In addition, the majority of children's folklore of the early period is built on dialogues.
There, children continue each other's thoughts, and a group gathers and discusses. Word games in
the form of questions and answers begin. For example, “
Tu'lkishek
”
:
- Ha' tu'lkishek, tu'lkishek,
- Tu'nde qayda barasan?
- Mamamnın' u'yine baraman,
- Maman' sag'an ne berer?
- Eshki sawıp su't berer.
- Eshkisinin su'ti joq.
- Ilag'ının' puti joq.
- Taram-taram et berer.
- Onı qayda qoyasan'?
- Tal tu'bine qoyaman.
- İyt a'ketse ne qilasan'?
- İyt awzınan alaman.
- Batiy xang'a baraman.
- Batıy xannın' nesi bar?
- Ushar-ushar qusı bar.
175
- Uship ketti hawag'a.
- Qaytıp tu'sti da'ryag'a,
- Darya suwın qurıttı.
- Aq shabag'ın' shiritti.
- Eki baydın' jurtında,
- Eki tıshqan uristi.
- Hey little fox, little fox.
- Where do you go at night?
- I go to my mom's house,
- What will mom give you?
- She will milk the goat and give milk.
- The goat has no milk.
- The foal has no legs.
- She'll give tasty meat,
- Where will you put it?
- I’ll put it under the willow tree,
- What will you do if the dog takes it?
- I'll take it from the dog's mouth.
- I’ll go to Batiy Khan.
- What does Batiy Khan have?
- He has birds that soar.
- They flew into the sky.
- They fell back into the river.
- They dried up the river water.
- They spoiled the white fish.
- In the village of two rich men,
- Two mice fought.
This is also presented in the form of a playful
question-and-answe
r, and is fundamentally
a game based on beautiful words. By counting their fingers, children distinguish between the first
and second numbers. This game, in its content, teaches children mathematics. Even though words
are used instead of numbers, in the end, it helps to find the remaining number. For example:
- Awelemen.
- Du'welemen.
- Salqan iyttin',
- Sani menen.
- Qara qoydın'.
- Qanı menen.
- A'wez bala,
- Qayda ketti?
- Duzg'a ketti.
- Qashan keler?
- Jaz keler.
- Sen tur.
- Sen shiq!
176
- One-counting,
- Two-counting.
- The grey dog's
- Counting with it.
- The black sheep's
- With blood.
- Little boy Awez
- Where did he go?
- He went to the salt flat.
- When will he come back?
- In summer.
- You stand.
- You leave!
That is, here the thirteenth number should be excluded from the count. Along with this,
Karakalpak children's folklore is not just about games and fun. There are also many songs for
children within it. Children have improved these songs in their own way [7]. Some children's songs
have been reworked by well-known poets. For example, the poems “
Ala tay
”
(“Piebald Foal”) and
“
Top
”
(“Ball”) by the poet Ibrayim Yusupov are among such reworked children's songs. For
example:
Atam ayttı: him - dedi,
Ala tayģa min - dedi.
Arman-berman shap - dedi,
Otlaq jerge baq - dedi.
Shuw, ja'niwar ala tay,
Sen jigittin' qanatı-ay,
Aqıllı bol, ha'y bala,
Bolıp ju'rme jalatay.
My father said: ‘Hmm!’
He said: ‘Mount the piebald foal!’
‘Go back and forth!’ he said,
‘Look at the pasture!’ he said.
Hey, animal, piebald foal,
You are the wing of a young man.
Be smart, hey child,
Don't be a flatterer! [8].
In conclusion, folklore's role in the spiritual and emotional development of children
remains essential. Encompassing ritual songs, games, and short folklore genres, along with the
comforting lullabies of early childhood, it provides an irreplaceable heritage for personal growth
and creative expression. Children's folklore not only teaches us about goodness, love, and care
from our earliest years but also offers lasting educational and developmental benefits,
underscoring its continued importance in the lives of children today.
References
177
1.
Graves, Robert.(1948.) The White Goddess:A Historical Grammar of Poetic Myth. Farrar,
Straus and Giroux, 144pp.
2.
Mаmedov.N. (2007) Karаkalpаk literature T 200. pp 57-66
3. Lopez Tamés, R. (1990). Introducción a la literatura infantil (Introduction to Children's
Literature). Murcia: Universidad, Secretariado de Publicaciones.17pp.
4. Amirlаn S.E “The issue of traditional children's folklore is in N.Dawqaraev’s consideration”.
(2016) Вестник №1. Nukus
5. Sutton-Smith, Brian. (2005.) “The Ambiguity of Play”. In The Folklore of Childhood, edited by
James M. Jones, Routledge, 55pp
6. N. Dawqаraev. (1977) “Complete collection of works” 2-part. Nukus, 114-116pp
7. Aymbetov K.(1965) “ Karakalpak national storytellers”. Tashkent
8. Ma'mbetov.K., Jaqsi'mova.G., Nietova.R. (2013) “A'debiyat” pp 41-44. 652s
UNDERSTANDING KARAKALPAK PROVERBS AND SAYINGS
Bazarbaeva Miyassar, Student of KSU
Annotation:
This article explores the role of proverbs and sayings within Karakalpak oral
folklore, analyzing their diverse functions and origins. It discusses how some proverbs reflect
negative perspectives, often rooted in the interests of the ruling class, while others offer valuable
insights into societal values and wisdom. The article highlights the extensive use of proverbs and
sayings within various forms of Karakalpak oral tradition, such as dastans, aytıs, and terme
poems, providing illustrative examples. It further examines how folk poets incorporate these
traditional expressions into their work, with some of their lines eventually becoming proverbs
themselves. The study underscores the significance of proverbs and sayings as a means of cultural
preservation, a reflection of the past, and a tool for shaping future generations, emphasizing their
impact on the Karakalpak literary language.
Key words:
proverbs , sayings , Karakalpak folklore, educational value, literature , the worldview
of the class.
Language is the most important means of human communication, a tool for transmitting
thoughts. At the same time, language acts as a mirror of national culture and its keeper. Humans
perceive the world and themselves through language, which contains both socio-historical and
universal human experiences, as well as national ones. Curiosity and interest in their own history
and the history of their culture compel people to look closely at language. Echoes of long-past
years are manifested today in proverbs and sayings.
Proverbs and sayings, a large part of folklore which is the cream of words created by past
masters of language, the folk's art of words, oral literature, and folk wisdom, are called “
naqıl-
maqallar
”
in Karakalpak. They are concise thoughts expressed through words.
“Naqıldı bir aytpasa, aqılsız aytpaydı. Aqıllı adam a'n'gimesin naqılsız aytpaydı”.
“A proverb is not spoken by a fool, and a wise person doesn't speak without proverbs”
[1].
Understanding a culture often involves understanding its proverbs. These traditional
sayings encapsulate a society's history, experiences, and shared wisdom, offering insights into its
