Вестник КазНПУ им. Абая, серия «Филологические науки», №4(62) 2017 г.
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be created by any great master ahugs (or ashugs) who lived and created after those masters, brought them
into the perfect epos and their names can be kept secret for the sake of modesty and ethics.
Professor Mammadhuseyn Tahmasib based on the assumption of “in our opinion, “Gurbani” is an epos
just created by Gurbani himself and “Abbas-Gulgaz” is an epos just created by Abbas himself” [1, 20-21],
mentioning Soviet ashugs as a basis, writes that it is the most reasonable way to create the epos by the master
ashug himself: “The third way which is shown by H.Arasli, that’s “more exactly, the way of epos was
created by ashug himself” [6, 13] and the note of F. Gasimzade that “love eposes about master ashugs were
sometimes created by themselves while they were alive” [5, 137], in our opinion, was the most reasonable
way in the epos creativity and this way is now maintained by Soviet ashugs” [1, 21]. We consider that we
need to think a little more detailed and deeper about this issue. First of all, eposes created by the Soviet
ashugs are much different from the classical love eposes by quality and they are below. Goshmas and
geraylis used in most of them are quite weak and dull poems in poetic terms. The prose – narrative part of
these eposes prevail the part of poetry and stands higher than it. According to today’s facts, though the
problem of creation of poems in eposes for the sake of prose (events and stories, adventures), or prose for the
sake of poems is not yet fully resolved, the extreme weakness and dimness of characters in the love eposes
created during Soviet era shows that the majority of the poems used in the mentioned eposes were created for
the sake of plot, deliberately developed events, and in a word, the part of prose. In other words, that’s epos is
not created based on the poems, but poems are created based on the epos. And it seems to us that by this
wrong way it never is possible to create successful, valuable masterpiece. As poem is not written when it is
wanted, it is created when the time comes. If the poem is weak, in our opinion, surely the author has forced
himself to do it and he hasn’t waited for getting animated and its time to reach out. Perhaps, Soviet ashugs
had the desire to create eposes, and forcing themselves to do it for the sake of something and dreary poems,
simple goshmas and geraylis had been adapted to deliberately made events. Once again, we emphasize: this
wrong way, method, in our opinion, absolutely couldn’t be the continuation of the method of creation of
classical love eposes. And professor Tahmasib’s omission of this subtle point is simply regrettably.
However, the issues of investigation and study of our love eposes are not limited to those described facts.
Various peculiar considerations of many authors exist in this subject. And, in our opinion, none of these
considerations can be considered as ambiguous and final conclusion related to the ways of creation,
classification and a number of other characteristics of love eposes. If it will be possible, in this case, the
process of investigation and study of love eposes would be completed. However, along with this, regardless
of whether each opinion, consideration, division, grouping, classification is reasonable to some extent, they
are worthy to be assessed, even to be applauded and evaluated as a next step forward in this field in folklore
studies. In this regard, opinions and considerations, classification, provisions and conclusions of
corresponding member of NASA, head of the Department of “Folklore” of BSU, Professor Azad Nabiyev
are distinguished by their peculiarity.
The author calling the examples of ancient Turkish folk prose such as “Alp Ar Tonga”, “Shu”, “Oghuz
Khagan”, “Arganakon”, “Manas”, “Alpamish”, “Maaday Gara”, “The Book of Dede Korkut”, “Koroghlu” as
eposes and distinguishing them from our love eposes justifies its opinion in this way that “in the epos, all the
nation are mobilized to protect honor and dignity of people and nation – a single aim combining all the
people. In such examples, the hero is all tribe, nation, people who are ready to endure all kinds of ill-
treatment in order to protect their dignity, honor, integrity, borders of native land, domestic and coexistence
rules, norms of morality and good manners…
But the hero in love eposes is an individual. They are Ashug Abbas, Dede Kerem, Ashug Garib, Ashug
Abdulla, Ashug Veleh and others who are standing against the rulers, religious leaders, merchant-chiefs and
opponents only having social preferences and violating their rights for free love, happy life and inviolable
human rights. Though the higher the social and public content in love eposes, and though the events described
here reflect various features of public life, it couldn’t rise to the level of epic thinking. It is satisfied with
reflecting contradictions and contrasts, antagonisms within the borders of specified prohibitions” [11, 340].
And at the same time, from their defeats. That’s why, in our opinion, love eposes, as above-mentioned, the
opinion of “it is satisfied with reflecting contradictions and contrasts, antagonisms within the borders of
specified prohibitions” [11, 340] cannot be considered so fair assessment. Though Ashug Abbas, Dede Kerem,
Ashug Garib, Ashug Abdulla, Ashug Valeh and others didn’t have great powers and opportunities to gather
troops, be the ruler in order to fight for the interest of public, to establish their desires and ideals, the fair rules
in the state in which they were being represented, they were fighting for the victory of truth and justice within
society and state with the help of imaginary supernatural forces standing behind them and simply, in the
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