Вестник КазНПУ им. Абая, серия «Филологические науки», №4(62) 2017 г.
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reviews epos as an example of written literature and that he doesn’t understand its structural semantics.
Academician H.Arasli, addressing this issue in his work entitled “Ashug creativity” comes to quite
different conclusion. In his opinion, our eposes are formed not by two ways, but three ways. One of them is
that “in some eposes poems created by contemporaries related to the name of personality lived in the history
forms the basis of that epos” [6, 13]. Though the author shows “Koroghlu” epos as an example in order to
support this opinion, it gets clear that he had difficulty to show and add other examples.
The researcher, continuing his classification, showing “Abbas and Gulgaz”, “Gurbani”, “Ashug Garib”
eposes, refers these to the second group of love eposes formed by others based on the poems of master
ashugs who had passed away which F.Gasimzade considered as first. H.Arasli called such formed eposes
created and formed by the third way saying that “Love eposes about master ashugs were sometimes created
by themselves when they were alive” [6, 13]. However, these kinds of epics were written by F.Gasimzade
being referred to the eposes created by the second way: “… Epos was created by the ashug himself” [5, 137].
It should be noted that this difference of opinion is not limited only with H.Arasli and F.Gasimzade.
Conflicting views related to the ways of formation of love eposes in our Folkloristic science covered a wide
area in the last century. A number of our prominent folklore researches concluded that our love eposes were
created based on the goshma and geraylis of master ashugs by the ashugs who lived and created works after
they died – that’s by their students or other unknown authors. This opinion for the first times was differen-
tiated by a plurality of supporters. In 1960s, Mirali Seyidov whose essays were published about great poets
and ashugs of XVII and XVIII centuries in the book of “The history of Azerbaijani literature” [7, 485- 486]
supporting the above-mentioned opinion, emphasizes that the eposes of “Abbas and Gulgaz”, “Khasta
Gasim” were created based on the poems of Tufarganli Abbas and Khasta Gasim by the ashugs who lived
after them in those essays.
We consider it important to bring into your attention the specific views related to the love eposes of
academician Mirza Ibrahimov. His many works dedicated to folk literature, ashug creativity attracts the
attention. Among these, articles such as “Inexhaustible treasure” [8, 316], “Realism in Ashug poetry” [9, 165-
187] etc. of the author published in 1960s, we consider that, retain their relevance for today. Academician,
along with interpreting and explaining the issue of realism which is rarely mentioned related to ashug creativity
and our eposes in these articles, showing the eposes of “Abbas-Gulgaz”, “Good-Bad” as an example, though
indirectly agreeing with the researches who suggests that these kinds of eposes were created by the other
ashugs based on the goshmas and geraylis of Tufarganli Abbas and Sari Ashug writes: “Abbas Tufarganli had a
beautiful lover named Gulgaz Pari. Almost she was praised in all the goshmas of Abbas. It should be that
Abbas really loved Gulgaz with great romantic love, as great heart beating is noticed in the poems dedicated to
her. Later on, the above mentioned epos of “Abbas and Gulgaz” was created based on these poems” [9, 171].
In general, the hard and intensive work of Mammadhuseyn Tahmasib, one of the most prominent
researches of Azerbaijani folklore studies, as well as, our love eposes in the field of investigation, study and
publication of our love eposes is undeniable. The researcher, especially expressing a number of opinions
about the ways of creation of these eposes, commenting on them, making comparisons, revealed some
conclusions that his efforts should be especially appreciated.
First of all, it should be noted that Mammadhuseyn Tahmasib acknowledges that those who promoted the
idea of the creation of love eposes using goshmas and geraylis of master ashugs by the ashugs coming after
them occupy majority among the researches of folklore and that previously he also shared those conclusions.
However he, continuing his idea, writes: “… A more detailed study clearly showed that this is injustice
against our known – famous master ashugs, the wrong way as taking such an important creativity process as
saga from the hands of great, outstanding masters and relate them to chances. Whether is it easy to create
eposes with plot, conflict and characters, specific, with Ashig and Mashug, with “closing” and “opening”
parts, “duvaqqapma” and “ustadname” (masterpiece in literature) than forming small poems, goshmas that
we relate this second one to masters, and the first one to accidental “unknown peoples?” [1, 19-20]. In our
opinion, it is not right to completely agree with this opinion of professor Mammadhuseyn Tahmasib. As,
there is a need to justify findings and classifications of H.Arasli, F.Gasimzade, M.Ibrahimov and such
authors to some extent. First of all, we should highlight one important point that to accept the opinion of
creation of “Abbas and Gulgaz”, “Ashug Garib”, “Gurbani”, “Khasta Gasim” and other famous love eposes
based on the poems of Tufarganli Abbas, Ashug Garib, Gurbani, Khasta Gasim and other master ashugs by
the ashugs coming after them and their students should not be assessed as depriving them from the power of
saga or injustice against those master ashugs. On the contrary, it is unfair to call ashugs coming after the
mentioned master ashugs as “strangers” or “unknown ones” (for example, their names don’t remain in the
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