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эгаллаган олимгина “адиб” деб аталади. Ўз асарларида, хусусан, “Рашаҳот”
асарида адабий илмлар, бадиий санъатларни ўзига хос қўллай олган Фахруддин
Алий Сафий, ҳақиқатан, XVI аср Ҳирот алмий-адабий мактабининг етук адиби,
Хожагон тариқатининг моҳир маноқибнависидир
.
URAZOVA RANO
doctor of philosophy PhD, IIAU
Once again about the images of Paurva and Trayetaona
in the Yashty of Avesta
Abstract. In this article discussed questions about the essence of the character of mythologic hero
Traeton, god and Human being in the sacred book of zoroastrism of Avesta. In the context a legend
about Paur in the anthem Ardv Sur Anakhit is revealed little knawn visible function of this god in the
capacity of Sunrise Colors. In addition, interrelation between Paurva and Thraetaona ought to look
throngh the fight between unbelieving moral evil, to the first truth “the best faith” in Ahura Мazda,
protecting the second.
Keywords and expressions: Faridun, Traetona, Azhi Dahaka, Ardvi Sura, Paurva,
boatman, Zoroastrianism, Atvya, Bogolyubov, proof, punishment, conviction.
Аннотация. Ушбу мақолада Авестонинг зардуштийликнинг муқаддас китоби-
даги мифологик қаҳрамон Траэтон, худо ва Инсон характерининг моҳиятига оид
саволлар муҳокама қилинди. Контекстда Ардв Сур Анахит мадҳиясидаги Паур ҳақ-
идаги афсонада бу худонинг Сунрисе Cолорс сифатидаги унчалик маълум бўлмаган
кўринадиган функцияси очиб берилган. Бундан ташқари, Паурва ва Тҳраэтаона
ўртасидаги ўзаро боғлиқлик имонсиз ахлоқий ёвузлик ўртасидаги курашдан иборат
бўлиши керак, биринчи ҳақиқатга Аҳура Маздадаги "энг яхши эътиқод", иккинчисини
ҳимоя қилиш керак.
Таянч сўз ва иборалар: Фаридун, Траэтона, Ажи Даҳака, Ардви Сура, Паурва,
қайиқчи, зардуштийлик, Атвя, Боголюбов, далил, жазо, ҳукм.
Аннотация. В данной статье рассмотрены вопросы сущности образа мифо-
логического героя Траэтона, бога и Человека в священной книге зороастризма
Авесте. В контексте легенды о Пауре в гимне Ардв Сур Анахит раскрывается
малоизвестная видимая функция этого бога в качестве Цветов Восхода Солнца.
Кроме того, взаимоотношения между Паурвой и Траэтаоной должны рассмат-
риваться сквозь призму борьбы между неверующим нравственным злом и первой
истины «наилучшей веры» в Ахура Мазду.
Опорные слова и выражения: Фаридун, Траэтона, Ажи Дахака, Ардви Сура, Паурва,
лодочник, зороастризм, Атвья, Боголюбов, доказательство, наказание, осуждение.
Among the mythological plots of the Avesta, a special place is occupied by the
image of Traetona, who defeated the evil Azhi Dahaku. Judging by the content of
the monument, Traetona is a representative of the famous family of the righteous
Zoroastrians Atvya. However, often, the image of Traetona is seen as a deity, the
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forerunner of King Faridun
1
. Avesta associates its appearance in the genus Atvya
with the verb zayata, translated as the past participle "brought
2
."
Indeed, the verb zayata can be associated with the stem zā (y) - “to leave”, “to
leave”, “to deliver”. In this case, Traetaonu can be considered as a foundling
brought up in the Atvya clan. However, judging by the parallels of the Traetona of
the Avesta and the Trita of the Rig Veda, they appear as divine entities. So, in the
legend about Paurva, taking the form of a bird of prey Kahrkasa, Traetaona
descends from the heavens and saves the boatman Paurva drowning in the waters
of the sacred river Ranha and takes him into the sky.
Giving such interpretations to this plot, at the same time M.N.Bogolyubov
himself expresses bewilderment. The fact is that the Avestan expression vifrō
navazō was explained by the researchers as “an inspired boatman”. At the same
time, the act of Traetona in relation to Paurva remained unclear: “he carried him
high into the sky”, as a result of which the latter could not descend to earth, return
to his home. The causal aspect of this event remains unclear. Judging by the fact
that Paurva, early in the morning on the third day of his stay in heaven, finally
rushes towards the hypostasis of Ardvi Sura Anahita in the form of the radiance of
the dawn and turns to her in prayer, asks her for help to return to earth.
Meanwhile, in this plot there is no such an important element explaining why
Paurva was taken to heaven? Why did his boat crash? Why did they threaten him
with death? And here M.N. Bogolyubov is right, expressing his bewilderment:
“The act of the god Traetona ... looks strange and unjustified”
3
. It is not clear in
what position Paurva is: in the position of being punished? If not, then there is
another answer. His ascent to heavenly distances was done only in order to show
the mercy of Ardvi Sura, who does not refuse the righteous in their requests. That
the essence of this plot is revealed only partially. Then it remains to look for the
true reason for the three-day desperate situation of Paurva in the heavens.
Noteworthy is the opinion of M.M. Iskhakov regarding this plot, expressed in
the comments to his own translation into Uzbek of Obon Yashta (hymn of Ardvi
Sura Anahita). First, according to M.M. Iskhakov, the image of Paurva is
essentially negative
4
. Most likely he, if not the enemy of Mazda Yasny, i.e.
Zoroastrianism, it was rather just an unbeliever. The broken boat on the Ranha
River and the threat of death hanging over Paurva - all this should be considered
as a punishment for unbelief. This is where Traetona appears and takes him to
heaven to prove to him the goodness of the religion of Mazda Yasna.
1
Bogolyubov M.N. Works on Iranian linguistics. The chosen ones. - M.: Vostochnaya literatura,
2012 . – P. 457.
2
In the same place.
3
Bogolyubov M.N. Works on Iranian linguistics. The chosen ones. - M.: Vostochnaya literatura,
2012. – P. 459.
4
Avesto. Yasht kitobi / M. M. Iskhakov tarzhimasi (translated into Uzbek). - T.: Sharq, 2001. - 128 p.
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A three-day stay in heaven was a kind of miracle for Paurva and he, convinced
of the correctness of Mazda Yasna, hurries to pray for help from Ardvi Suru
Anahita, who always fulfills the wishes of the righteous.
In addition to the above interpretation of the plot about Paurva and Traetaon,
one more interpretation of it is permissible. To do this, we must mentally move
away from the well-known explanation of the passage from “Obon Yashta”,
where the episode about the boatman Paurva has been preserved. According to
M.N. Bogolyubov, the essence of Traetaona is divine and he, Traetaona, has a
special ability to transform into a person, a bird, etc.
In the episode under consideration, Traetona descends from heaven in the
form of a bird of prey and carries Paurva into heaven. To confirm the ability of
the deities to reincarnate M.N. Bogolyubov cites several parallels, such as
Tishtriya taking the form of a fifteen-year-old youth, or a bull with golden horns,
or a white stallion confronting the evil demon of drought Apaosha; reincarnation
of the god of victory Verethragna into a bird, a wild boar, a two-humped camel
striving for its pair, a fast horse, a sheep, a bird, a man, etc.; Goddess Ardvi Sura
Anahita turns into a beautiful young girl, etc.
The divine essence of Traetona, judging by the spirit of this mythological
material, can be questioned. Firstly, this hero of the Avesta is considered a
representative of the Atvya clan. Secondly, in the poetic tradition Traetona is a
king from the Keianid dynasty. Consequently, his presence in the plots most of all
relates to the legendary history of the pre-Achaemenid kingdom. However, the
struggle between Faridun and Azhi Dakhaka, which ended with the victory of the
former, is already mixing with the most ancient mythologems.
This uncertainty of the boundaries between myth and religious beliefs is a kind
of regularity in the addition of religious systems as a whole
1
.
As for the plot under consideration about Paurva from the hymn of Ardvi Sura, here
there is an intermediate idea of the image of Traetona. That is, according to the first
plan, Traetona is the most victorious person who defeated Azhi Dahaku, a fighter for
the religion of Mazda, and according to the second, a deity whose hypostasis is the bird
Kahrkasa, which allegedly carried Paurva to heaven.
The Avestan Traetaona, according to the Rig Veda, corresponds to the deity
Trita Aptya. However, in the Avesta, in the same hymn to Ardvi Sura (chapter
IX), he definitely appears as a representative of the above-named Atvya clan. In
this episode, Traetaona speaks to the prayers of Ardvi Sura with a request for help
in overcoming the three-headed evil Azhi Dahaki. In chapter XVI, Traetona's
appearance is sudden. However, there are no preliminary explanations. According
to M.M. Iskhakov, this episode is connected with the mission of Traetona, a
fighter for truth, called upon to turn Paurva's heretical thoughts towards the
righteous religion of Mazda…
Bogolyubov M.N. Works on Iranian linguistics. The chosen ones. - M.: Vostochnaya literatura,
2012. – P. 458
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And so, the mighty hero Traetaona appears in front of Paurva, enters with him
in biathlon, throws him into the heavens to prove the power of God's Truth. In this
case, the role of Ardvi Sura rises to the first plan, to whom Paurva piteously prays
to help him return to his home, to the land created by Ahura Mazda. And this is no
coincidence. We believe that the hymn to this goddess in the composition of
Mladoavesta had deep roots, and was introduced into the Avesta without special
editing due to the strength of traditional views on the image of this goddess.
The Avestan episode with the boatman Paurva looks strange to some extent
1
.
The fact is that the Avestologists used to understand the Avestan phrase vifrō
navāzō as “an inspired boatman singer”. If so, as it was said above, then for what
this boatman was "punished" remained unclear. Now, after the publication of a
special article by M.N. Bogolyubov devoted to this issue, the situation received a
proper interpretation.
Moreover, M.N. Bogolyubov, referring to P.Time's explanation of the
meaning of the word navāza as “boat wreck”, it becomes obvious that this
happened as a punishment for the sinful judgments of Paurva, which were expres-
sed in his songs. At the same time, P.Time proceeded from the consideration that
the word vip / fra in the Rig Veda means “singer-bard”.
M.N. Bogolyubov explains the considered mythological plot as follows: “...
the singer-poet Parva, whose house is near the Ranha River, embarks on a boat
trip along the river. The boat was smashed, and Parva is threatened with death.
Seeing the drowning man, the god Traitavna, having turned into a bird of prey,
hurries to the rescue. Saves a drowning man, taking him high into the sky ... ”.
With this interpretation, the causal aspects of the event still remain unclear. It
would be fair in this case to introduce into the interpretation of the situation the
motive of punishing Paurva for his sinful thoughts. However, the fragmentary
nature of the episode leaves room for other judgments.
From the above, the following conclusions can be drawn:
1. Traetona is the epic hero of the lost ancient poem about Paurva and Traetona,
only traces of which are preserved in the Avestan hymn to Ardvi Sura Anahita.
2. The reincarnation of Traetona into the bird Kahrkasa, which carried Paurva to
heaven, gives it the meaning of a divine essence. Therefore, Traetaona is a deity.
Traetona - Faridun, i.e. the mythical image of a person, a hero, concepts of different
levels, the history of the mythical dynasty of Keyanids, referring to the boundaries of
the transition from the myth system to the religious rethinking of the past.
3. In the episode with the boatman Paurva, another function or second essence
of the goddess Ardvi Sura is manifested: she was not only the goddess of waters,
corresponding to the Vedic Haravati (Saraswati), but also identified with the
goddess of the morning dawn Uš (ah)
2
.
1
Bogolyubov M.N. Works on Iranian linguistics. The chosen ones. - M.: Vostochnaya literatura,
2012. – P. 458.
2
Avesto. Yasht kitobi / M. M. Iskhakov tarzhimasi (translated into Uzbek). - T.: Sharq, 2001 . - 128 p.
