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THE PLOT OF THE EPIC “A STRANGER IN LOVE” IN UZBEK AND AZERBAIJAN
FOLKLORE
Sabitova Tadjixon,
Researcher at Alfraganus university in Tashkent
Annotation:
in this article, the plot of the epic “Asik Gharib” is widely given in Uzbek and
Azerbaijani folklore, and the similarities and differences in the folk oral creativity of fraternal
peoples are analyzed theoretically methodologically.
Keywords:
Epos, folk oral creativity, folklore, tradition, value Vomik Azro, Azerbaijan, Uzbek
The issue of mutual influence and connections in folklore studies has only just begun to be
studied. From this point of view, the works of researchers such as Kh.T. Zarifov, T. Mirzaev, K.
Imomov, B. Sarimsakov, M. Takhmasib, M. Seyidov, O. Nabiev, V. Veliev. A. Abid on the
connections between Uzbek and Azerbaijani folklore have become the basis for new research in
the comparative folklore of both fraternal people. If we look at the history of folklore
connections between the Uzbek and Azerbaijani people, we see that their roots go back a very
long way. The historical ethnic unity of the Uzbek and Azerbaijani peoples at a certain period,
their close living together, socio-economic and political ties indicate the existence of ancient
literary ties between the two people.
The study of folklore connections is the only means of determining the uniqueness of each
people's folklore and the widespread distribution of folk masterpieces. Comparing similar plots
or motifs can yield effective results in studying the issues of connection and influence. The plots
of many epics of a romantic nature have a common character in Central Asia and the
Transcaucasus. We can see this in the example of some epics. For example, epics such as "Oshik
Gharib- A stranger in love", "Vomik and Uzro" or "Kozi Korpesh and Bayan Suluv", "Tahir and
Zuhra".
The epic poem "Oshik Gharib and Shahsanam", which is widespread among the people of
Central Asia and Transcaucasia, is of great importance in studying the mutual relations,
connections, ethnographic proximity, and certain commonalities and differences in the socio-
aesthetic development of the peoples of this region.
In particular, the comparative study of the Azerbaijani and Uzbek versions of the epic poem
"Oshik Gharib and Shahsanam" is of scientific and practical interest. When it comes to the
common and different aspects of both folk epics, it is first of all appropriate to compare their plot
lines. It should be noted that the Uzbek folk epic "Oshik Gharib and Shahsanam" and the
Azerbaijani folk epic "Oshik Gharib" have a sharp difference in terms of plot. In the Azerbaijani
version, the action takes place in Tabriz.
The story begins with a description of a merchant named Muhammad and his family living in the
province of Diyarbakir, while the Uzbek version is somewhat traditional, namely the story of the
meeting of Shahsanam, the daughter of the king of Diyarbakir, Shahabbos, and Gharibjan, the
son of his minister Hasan, and the details of their agreement to be their godchildren when their
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children grow up, and the breaking of the agreement when Hasan the minister dies. The events
that follow are also completely different from each other. In the Azerbaijani version, a series of
events leading up to Rasul (Gharib) seeing Shahsanam in a dream and searching for her (the
episode of the robbers, Rasul losing his money and starting to learn a craft) are not in the Uzbek
version.
In that version, the story begins with Shahsanam and Gharib studying together and falling in love,
but the king prevents their love by expelling Gharib and his family from the city, and Gharib
becomes a wanderer. In the further development of the plot, two different events take place in
both folk epics. Here, it is necessary to pay attention to the difference in the motives that give
impetus to the further development of events. In the Uzbek version, the main obstacle for Garib
and Shahsanam to meet each other is the opposition of the girl's father, Shahabbos. Here, the
motive acquires a social meaning, that is, social inequality, Sanam being the daughter of a king
and Garib being a representative of a lower class, serves as the main obstacle for the union of
two loving hearts.
This, in turn, gives grounds to think about certain elements of social consciousness in the Uzbek
version of the epic. Thus, in the Uzbek version, there is the first reason to interpret the epic not as
a work of narrow domesticity, but as a socio-domestic work. In the Azerbaijani version, there is
no serious social obstacle for Garib and Shahsanam to meet. The girl's father, Haji, is not against
their being together. Only if Garib brings 40 bags of red gold to Kalin Badali, the matter will be
resolved. In this version, this motif serves as the main motif that provides the further direction of
the plot.
When Garib leaves the country in search of gold, the image of Shahvalad appears in the center of
events. According to the further content of the work, Shahvalad tries to destroy Garib in order to
get to Shahsanam, but in the end, unable to achieve his goal, he is forced to marry Shahsanam to
his lover.
It seems that here, while Shahvalad's attempts to reach Sanam are carried out in a domestic
intrigue way, in the Uzbek version they are different and more dramatic. In the Azerbaijani
version, Shahvalad is the son of Shahvalad's aunt, a relative. He cannot forcefully marry
Shahvalad due to his high status. Because they are equal in status. Therefore, Shahvalad does not
have the opportunity to achieve his goal by force. The only way for him is to kill and destroy
Gharib by any means necessary. In the Uzbek version, there is another fact that can be
interpreted as social inequality. According to the story, after Shahvalad's father, Shahabbas, dies,
Shahvalad becomes king. Shahvalad is now subordinate to Shahvalad due to his position.
Shahvalad proposes marriage to the girl twice. Each time, the girl refuses. The third time, on the
advice of his concubine Sanamjon, he agrees to marry Shahwalat, setting a condition for a period
of seven months.
At first glance, the issue we are considering seems irrelevant here. However, if we look at the
logic of the incident, the issue becomes clear, that is, Shahsanam was forced to marry Shahwalat
even without the advice of his concubine. Because, as we noted above, he was a subordinate of
the king. If the girl refused Shahwalat again, the king would have to take her by force. So,
Shahsanam acts wisely, taking these aspects into account and with his own goal in mind. In this
passage, there is another reason to talk about the social pathos of the work.
Now let's dwell on the final part of both versions. In the Azerbaijani "Oshik Gharib" Gharib
enters the wedding day of Shahsanam and Shahvalat and introduces himself to the girl. When
Shahvalat recognizes Gharib and attacks her with a dagger, Gharib's friend Dali Mahmud
snatches the dagger and attacks Shahvalat.
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Shahvalat is frightened by this situation and says that he gave Shahsanam to Gharib, and in
return he is given Gharib's sister as a wedding gift.
In the Uzbek "Oshik Gharib and Shahsanam", the solution is completely different. Shahvalat is
forced to release Sanam and Gharib under direct pressure from the people. In the finale of the
work, it is emphasized that the people are the only force that can force the king to agree and give
in. That is why Gharib says:
“I'm hot in every pot like salt, I'm falling into the river of love.
I am a fool, I play with songs,
If the people are with me, they will play with me. “
He proudly exclaims. This, in turn, leads to the idea that oppression can only be fought through
the people, the organized masses of workers. It seems that the role and task of the people as the
only social force in the epic is very correctly assessed and once again gives full grounds for
interpreting the Uzbek version of the folk epic as a socio-domestic epic.
Above, we have touched upon some of the differences between the Azerbaijani and Uzbek
versions of the epic "Oshik Gharib and Shahsanam". This should not lead to the idea that both
versions of the work were created from completely different sources in terms of their
fundamental principles. There are similarities in the plot lines, the system of images, and some
motifs of both versions, which indicates that the source and roots of this epic are the same, but
that over time it has undergone various changes and adaptations due to the fact that our people
have certain differences in terms of the development of national ethnic, ethnographic, and social
consciousness.
In particular, it is possible to list common features in both versions of the epic. First, in both
versions, in addition to the central characters, the characters of Shahsanam's concubine Akcha
Kyz and Shahvalat participate. Their goals, tasks, and place in the work are almost the same, that
is, Akcha Kyz is embodied in both epics as a wise woman who is loyal to Shahsanam, fights for
his happiness, and tries to bring those who love her to peace. Shahvalat is a negative symbol of
evil, who will stop at nothing for her own benefit. Secondly, there is a certain similarity in the
place names. In both epics, Gharib arrives at the wedding from the city of Aleppo (Khalaf).
Thirdly, there is a similarity of motifs in both folk variants. For example, at the beginning of the
epic, Gharib's father dies, his mother goes blind, Shahsanam's condition, Shahsanam's ring is
placed in Gharib's bowl, etc.
It should be noted that there are certain phonetic changes in some aspects, based on the
characteristics of the Azerbaijani and Uzbek languages.
In conclusion, it can be said that the folk epic "Oşık Gharib va Shohsanam", which is a
common artistic monument of the Turkic peoples, has undergone certain changes over the
centuries according to the national characteristics of these peoples, in particular, the Azerbaijani
and Uzbek peoples, which is why one of them should be evaluated as a domestic epic, and the
second as a socio-domestic epic.
Thus, under the influence of the political, economic, and cultural ties of the Uzbek, Turkmen,
Azerbaijani, and other peoples, literary and folklore ties also developed, and these played a
major role in emdiving the common features of the epics.
References:
1. Sabitova T. Literary fairy tales (study guide) Mumtoz soz.-Tashkent.-2012
2. Sabitova T. "Uzbek folklore" textbook Zebo print. - Tashkent. -2022
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3. Sabitova T. Theoretical foundations and art of Uzbek folk epics. Monograph Firdavs shox.-
Tashkent, 2022
4. Sabitova T . "Uzbek folklore" textbook. -Tashkent Sarbon LLS 2024
5. Sabitova T. The role of folk oral works in the development of youth spirituality The role of
mentors in the educational process.-Chemical Technical Institute.-Collection of scientific works.-
Tashkent.-2010
