Abdibek Zh.B.

Astana, Kazakhstan

L.Gumilyov Eurasian National University,

ORAL FOLK POETRY IN KAZAKH STEPPE AS A HISTORICAL SOURCE

(elements of folklore and traditions in kazakh poetry)

Аннотация:

Данная статья основана на познание устная литературы в казахской степи. Устная литература – это не только народные песени, поговороки и пословици, это и произведения жырау-певцов, композиторов, поэтов, импровизаторов. Имена произведения жырауов дошли до нас благодаря народным преданиям и многим песням. Для казахского народа устная литература это достижение в философии, традиции, истории и начало письменной литературы. А так же мы в статье познокомимся с элементами фольклора и традиции казахского народа в творчестве Базар жырау.

Аnnotation:

This article is based on perception of oral literature of Turkish and Kazakh steppes. Oral literature is not only folk songs, proverbs and sayings, but these are also works of zhyrau-singers, composers, poets, improvisers. Items of works of zhyraus had come to us owing to folk tales and many songs. Oral literature for Kazakhs is an achievement in philosophy, traditions, history and beginning of written literature. Also we will get you acquainted with elements of folklore and traditions creative work of Bazar Zhyrau.

Ключевые слова: Традиция, беташар, история, музыкальный инструменты, поэзия, устная поэзия, жырау.

Key words: Tradition, betashar history, musical tools, poetry, oral poetry, zhyrau.

Talking about the rise and peak of the Turkic poetry should be noted that since the XI century, there existed two directions, two forms, the two traditions. The first - the most famous, classic Muslim poetry of Turkestan and the Osman Empire. The names of the medieval poets Balasaguni Yusuf, Ahmed Yassaui Saif Sarai, Lutfi, Alisher Navoi, Babur Zahiritdina, Mohammed Fizuli, Yunus Emre are well known. Their works have been translated into many languages. The peak of the Turkic writing poetry is traditionally considered the XV century is associated with the names of Navoyi, Babur. However, we note that, for all the sophistication of content and form of perfection, their poetry was in line with the classic Arab-Persian love and mystical lyrics. Poems are usually dedicated to the woman he loves, loved God, loved the drink, the beloved ruler, i.e., reflect a settled urban culture of the medieval East. Here Turkic poets used the Arabic alphabet, Arabic poetic measures, the Persian language, and wrote in very similar versions of the Central Asian Turks' (often just in Farsi) later known as the Ottoman and the Chagatai literary language. The second tradition - more ancient but less known - oral folk poetry.

National epic existed in various Turkic people from time immemorial. Synchronously with the rise of the Muslim as written literature, in the north of the Turkic world, in the Dashti-Kipchak became famous author's oral poetry. At the same time continuing to develop the art of oral epic of the Kazakhs. Kazakhs are the indigenous inhabitants of the Great Steppe, in particular the part that is in the Middle Ages nicknamed "Dashti-Kipchak," a land of Kipchak, and today is known as the Republic of Kazakhstan. It is for the Kazakh oral literature that achievement in philosophy, history, politics, and the beginning of the modern written literature.

Epic poems, songs called zhyrami, so poets - artists called bard (as opposed to zhyrshy - performers). Word of the ancient zhyr origin, found in the dictionary and Mahmud Kashgary means - a song (in the sense of the heroic epic story). It occurs in a similar sound in most northern Turkic people: in the Yakut - yrya in Khakass-cop, in the Kyrgyz Manas, in the Bashkir – zhyr in Kazakh and Nogai - zhyr. Researcher Turkic folklore E.D.Tursunov argues that "the type of bard arose between the beginning of I millennium BC and the Ancient era and the beginning of our era took shape as the media type of oral-poetic tradition"[1.122] Of course, the wording is very vague, covering half millennia, so it should be clarified that the "ancestors" were zhyrau (shamans). As the nomadic society, and especially after the emergence of "nomadic" Tengrian Kaganates, kames function as guardians of tradition, the epic singers, soothsayers and healers have increased and become more complex. Prophets and the executors of the heroic epic were the special guardians of historical tradition and became known as the bard, and healers, exorcists and experts’ rites were called bucks. At the Sayano-Altai Turks, this process has not been fully completed, and there camas often combine the role of epic singers and magic casters. At Karluk and Oguz and the later Islamic canon is almost supplanted the ancient oral tradition, and the function of magic spells was completely stopped, as a "pagan." In a throwback to the nomadic Uzbeks remained the word bakshi, which they called the special singers, romantic epos.

The most consistently and clearly the formation of an oral-poetic tradition took place among the nomads in Kipchak language Dasht-i-Kipchak: the nogaes, Kazakh, Kara kalpak, Kirghiz. German scholar of Turkic oral epic Karl Reichl writes that “the core of the Turkic epic poetry makes up the epic traditions of the Kazakhs, Kyrgyz and Kara kalpak. It is in their best reflected the epic world of the nomads of Central Asia, a world in which many of the Turkic tribes lived ever since, as Turkish people first appeared on the scene ...”

In X - XI centuries Turkic poetry "lit up" in the epic of the Oghuz and the legendary bard Korkyt work. It is believed that he invented kobyz. Kobyz-traditional Kazakh stringed musical instrument with two horsehair strings. It belongs to the oldest form of stringed instruments, which have been preserved among the people of Siberia, Central Asia, the Volga, the Caucasus, and others. Each of these people has bowed to its name, but they are similar structure, horsehair strings, and tuning, game modes. The antiquity of the building itself speaks of tools.

Kobyz hollowed out from one solid piece of wood - juniper (arsh), maple, pine and birch. The instrument was as it were of three parts: the head ("bass" - the head), middle (base - keude) and lower ("ayak" - feet). The base is in the form of an open cup, outstretched downwards. This lower part of the tool is tightened skin (deck). It is established stand (tiek). Strings kobyz still made of the cauda equine. The bow has an arched shape and resembles a bow: the two ends of the curved branches tied bundle of horsehair and fastened with strong thread made of camel wool. Kobyz two strings consisting of 104 horse-hairs, publishes a range of overtones in contact bow. Color and density of playing the instrument is largely dependent on the strength of the bow touching, as well as from the heights. The history of playing kobys has been associated with religious and magical rituals of bucks - shamans. Kobyz served as a means of communication with their bucks aruahami (* spirits of ancestors), and spirits-helpers (* forces of nature, and not only). Shaman's instrument looked quite unusual: the head was crowned with feathers owl was covered different metal plates in the form of horn scrollwork, figures of birds, which rang with the music, at the bottom of the cup was placed with mirror. All this was not only decorating, and shamanic symbols - symbols. Kobyz was a sacred instrument. The ordinary people, even afraid to touch this instrument, because he believed that kobyz as hosts tools - bucks, have a wonderful magical powers are able to influence the destiny of man. According to legend the music of kobys to cast out evil spirits, sickness and death. Along with this tradition kobys is not just a ritual, but also related to the work of epic bard (Singers), which in nomadic environments occupied a prominent place. Zhyrau were usually at the rate of the Khans, as military and political advisers, praising the heroic deeds of the Khans, brave men. Kazakh scholar - scholar zhyrau M.Magauin leads the folk legend of Ketbuge bard. He lived in the XIII century, and one day it so happened that the bard had to inform the Genghis Khan of the death of his son on a hunt – Dzhuchi. But as news of the death of a loved one's death was assumed, the bard wrote kui, subsequently called "Aksak kulan," and performed it at the Genghis Khan Kobyz. The Sound of Music gave Khan the tragic news. The zhyray did not utter a word. For heavy tidings kobyz paid - on the orders of Chengis Khan, its cavity was filled with molten lead. So the main musical instrument was the kobyz [2.16]. The names of the great bard: Sypyra, Kaztugana, Asan Kaigy, Dospambeta, Shalkiiz, as well as others denounced his hearers thereby tool.
Since ancient times, were regarded as prophetic bard poets anticipate the future, so they often were advisers to the Khans, the representatives of the people in the khan's rate. Initially, this role of pragmatic texts had predictive nature - to select the correct decision by Khan, to support the troops before the battle, to enumerate the merits of the deceased hero, etc. But later, their functions become more complex and more literaturised. Stories, melodies, "raps" were not written bard, and preserved and passed on orally in folk tales, in retelling and rehashing some of the bard - to others. With the gift of improvisation and a phenomenal memory, bards were creators and custodians of the historical memory of the people. In special occasions around the clock, they could perform their zhyry kobyz accompaniment, before a huge crowd telling listeners about the past, the great ancestors and their glorious deeds. In places the tragic bard tears streamed from his eyes stern soldiers in funny places - the laughter and cheers echoed across the steppe, but sometimes the bard could play kobyz, keeping silence. These brilliant constellations of poets were heroes of the steppe nomads for centuries. Handed down by word of mouth, their songs have reached us. They say its poets all Kolchak branch of the modern Turkic people: the nogayi, and Tatars, Turks, and the North Caucasus, and Kara kalpak, and Kazakh.

It is in the oral bard, and not in an Islamic Turkic poetry written literature has shown their identity and originality. These qualities were presented zhyrau Kazakh steppe. In its best examples, especially tolgau Shalkiiz, Kaztugana, Dospambeta reaches the heights of creativity zhyrau world of poetry. Zhyrau existed in the Kazakh steppe to the XIX century. Next, we describe the creation of the Kazakh bard - Bazar Zhyrau.

As the saying goes, “To have the talent bard, not only to learn that property goes to him by nature”, Bazar bard became known among the people of their natural talent. He was a brave, brave bard, whose unique talent was able to show our generation its age. Prior to his listener, Bazaar zhyrau honored who fought for his people, who could distinguish the line between good and evil, between love and hate.

According to historical dates Bazar Zhyrau Ondasuly was born in 1842. He was famous for his name “Bazar Zhyrau”. There is no data about his parents and relatives. About his wife and children we can take some information from the poet “Kosh bay rim ozin koter zhyr kumbezin” (Farewell my friend now bear a dome zhyr).

  Pirlibek, Nurlybek, Aisulu

  Gather all beauties of the world

  Who can be hotter than you

  I wish you only a long life [3.100],

From this lines of a poetry we can guess that his sons’ names are Pirlibek and Nurlybek and his wife is Aisulu. About the poet’s family we can take information from Sharibek Aldashev’s researches. It means that we can find data about his life from his creative work.

  There are a lot of legends devoured to Bazaar’s coming to the way of poetry. One of them is the following: One day little Bazar grazed sheep and he fell asleep in the street. In his dream he saw an old man with white beard, dressed in white clothes and he held a white stick in his hand. An old man came up to him and said: “Where to give you a talent to your forehead or to your palate?”. So the young Bazar woke up and began to sing a song at once. Here it should be said that the legend bears a truth and a truth bears a legend.

  Bazar was an orphan since his childhood so he didn’t go to school at all. From his birth he was formed as a personality on the basis of zhyr and terme, tolgau and dastan, proverbs and sayings, an enormous treasury of oral poetry (terme, tolgau and dastan - the basic achievements of the oral literature of the Kazakh people, when it is executed forge there there are no words, tolgau and terme is both music and words, it is an ordinary song but a bit other style). Grazing the sheep of a rich people, young Bazar came to the way of poetry at the age of 16. About this he wrote in his poetry:

First I was named Bazar

At the age of 16 

At the  of a rich Kokshe,[3.101].

He has taken part not only in toys (weddings) but also when people died he expressed his condolences to those people by singing arnau to them. For instance, “Pishan’s expressing condolences to Torebai”, “Expressing condolences to Temir”, “Expressing condolences to Temir”,  “Expressing condolences to Torebai bi”.

In the 60 – s of XIX century when Russia wanted to have to power over the active politicians. In this battle he took  not only  dombyra in his hand, but also he took an weapon into his hands.

Living in this period and trying to humiliate  an active members of an unjust society Bazar was in Kazaly, Akmeshit, Urgenish prisons. About this events we may  guess from his works. At was nearly in 1908. In those years Turmakhambet

Shair who studied in “Kokiltash” medrese in Bukhar and a tadzhik man Sadriddin ut woman’s dress on Bazar to help him escape from prison. The people a lot of stories about this event that time. But there is a question whether it is a legend or a truth nevertheless.

Bazar Zhyrau was famous not only for his songs and tolgaus (poems in form of songs sang with accordance of music instrument) among the people. But he also had got tolgaus concerning customs, habits and traditions in his creation. There is one popular zhyr (song), which is devoted to joy, happiness and edifying life experience and it is a custom of betashar. This our custom is the only way of demonstrating our people’s way of life, life experience, edifying and instruction, edification and testament aspects and spiritual wealth of our people.

Betashar is a specimen of song-zhyr. Betashar is a zhyr devoted to new daughter-in-law. One of the Kazakh customs coming from the ancient times, when it was very important for the new daughter-in-law’s face not to be shown for anyone and she was brought with kerchief closing her face and it was to be opened only by a poet-singer, specially invited to that event’ says Kazhym Zhumaliev and Mukhtar Auezov says: “Betashar is the way of opening of the young girl and introduction them with life, customs of the country used inside of it. It is the song for teaching young, inexperienced woman to become respected, dear daughter-in-law of the new community”[4.69].

Although betashar had taken its stable place in consciousness of people it had undergone many centuries, epochs and changes. Of course, betashar has different types of samples and variants as an ancient tradition of us. It was sang in various contents and forms depending on its development stages having been passed from father to son and from generation to generation. And betashar of Bazar Zhyrau begins in the following way:

And young, and old people

Have come to betashar

Now it is your turn, kelin (daughter-in-law)

For showing that habit...

Please, greet your ata (father of the fiance),

Who is the eldest one here

Sitting on the tor (the place in room for respected people), [5.87]

In such a way Bazar Zhyrau begins opening face of kelin(daughter-in-law). Firstly, at the beginning of betashar zhyrau introduces daughter-in-law with her father-in-law, mother-in-law, elder and small brothers-in-law, elder and small sisters-in-law, nephews and nieces-in-law, community and makes her bow them and ‘give a salem (kind of greeting)’. Talented singer Bazar describes properties of every member of the fiance’s family with critics and irony and continues his zhyr with edifying words.

Though Bazar met a lot of difficulties in his life he gave his bata (wished luck) to the people next to him and those who lived far form him, and he described their heroism in his poems as “Khalik usin tugan kairatty er” (The courageous hero which was born for the people), “Zhigittik”(Heroism), Bilimdidei – ak ul tuar” (Clever son will be born only) and others. The poet described not only batyr heroisms but also he raised the spirit of people but also to criticies some strange events that happened those days. I his own tolgau he presented not only one theme but also the tried to connect the main points of the life.   

His main themes were connected with people. Also the poet sang about his sadness and happiness and one person’s emotion.  Some of their poems are “For my lovely wife” (Suigen zharima), “Attention” (Nazarga). He sang about advantages and disadvantages of life and young people’s feelings  in his poems such as “Hero were born for people”, “Young man”, “Twenty five years”, “World”.

The poet was very talented as a drop of white rain, all of his same ages and modern poets are respected his talent. On the other hand, poet’s works started to collect in only Soviet Union’s time. In 1925 poet’s several poems were printed in “Terme” collection in Tashkent. Also, “Bazar is a main poet after Bukhar zhyrau”,- said S.Seifullin, he collected his about 200 poems and printed them in “Kazakh literature’s ancient types” collection in 1931. In 1986 Sharibek Aldashev collected poet’s work and wrote a preface and his thoughts about a poet, he first called his book “Bazar zhirau’s poems”. Poet’s several poems were given by “Bes gasir zhyrlaidy” (Sing of five centuries), “Zheti gasir zhyrlaidi”( Sing of seven centuries), “”( Sing of three centuries). Most part of poet’s written form works are not searched. They are - “Makpal segiz” (Makpal-eight), “Aina-tarak” (A mirror-a brush), “Amina kyz” (Amina girl), “Ahmet Zhusip”. These poems remain us eastern poem’s plots about two lovers feeling. They are traditional and lyrical poems. 

 Thus, tragedy Kazakh zhyrau that they nomads of an epoch of a Turkic apocalypse, however, Kazakh zhyrau have despite of everything created the poetry the original Genesis of Great Steppe in which the poetry and rhetoric, history and a family tree, morals and the right, culture and religion were weaved together. And were weaved so those have created the whole system of ability to live of the soldier-nomad, the hero of the Eternal Ale. In other words, the poetry zhyrau as a suit of the shaman stores in itself a riddle of Turkic soul...

Literature:

1. E.D Tursunov. Source of carriers of the Kazakh folklore (Kaz). Kazakhstan, Almaty, - 2004.

2. M.Magauin .“Centuries of patterns” (Kaz). Kazakhstan, Almaty, - 1991.

3. «Sing of seven centuries» (Kaz). Kazakhstan, Almaty, - 2010.

4. Mukhtar Auezov. History of the Kazakh Literature (Kaz). Kazakhstan, Аlmaty, - 1991.

5. “Bazar zhirau’s poems” (Kaz). Kazakhstan, Almaty, -1986.