Абай атындағы ҚазҰПУ-нің Хабаршысы, «Филология ғылымдары» сериясы №4(62) 2017 ж.
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history. In fact, it should not be remained. Perhaps they, only faithfully serving to their masters, hadn’t
included their names in those eposes). The provision that their being created famous eposes about their
masters, in our opinion, doesn’t deprive masters from the power of saga. As, professor Mammadhuseyn
Tahmasib himself acknowledging the existence of some other eposes created by the those master ahugs
writes: “One of the most substantials is that (that’s the evidences proving the creation of “Gurbani” epos by
Ashug Gurbani and “Abbas -Gulgaz” by Tufarganli Abbas – C.I.), these artists had and have other eposes”
[1, 21]. However, taking this evidence as a basis, in our opinion, it doesn’t make any sense to necessarily
decide on the creation of “Abbas-Gulgaz” by Tufarganli Abbas and “Gurbani” by Ashug Gurbani.
We consider that the considerations of F.Gasimzade, M.Seyidov and other researchers are more
reasonable. There some objective reasons that we come to such conclusion. First of all, it is necessary to
review a number of characteristics of intellectuals, the class prone to poetry and art and not neglect their
extreme sensitivity, emotionality and adventurism for heroism, love issues. It is known that master ashug
extremely likes and has this potential to exaggerate, further magnify its character at the same time, the artist
to whom it believes more, without any specific artist and to tell unusual, incredible adventures, stories and
events about them, as well as, to create tales, myths and epics and enthusiastically tell them with. In this
case, is there a need for master ashug who is the favorite ashug of the people to create epic about himself and
related to his name? It seems to us that there is no any need. However, of course, there are great need for
young ashugs’ who are not completely known and still not famous to read from the poems of master ahugs,
tell stories, events and adventures about their lives and creativities, the power of their talents and stories
related to them and to capture their audience for the sake of attracting the attention of people and gain their
love at gatherings. And desire and attempts to meet this need in the highest level is logically possible and this
may lead to create and form perfect eposes about those master ashugs.
Once again it should be emphasized that, in our opinion, it certainly does not seem reasonable that
talented persons, great personalities, the giants of folklore such as Tufarganli Abbas, Gurbani etc. creating
eposes related to their names and speaking about themselves at gatherings. In our opinion, it is more
convincing to claim that for example, Gurbani created epic (even epics!) about Shah Ismail Khatai whom he
called his “Murshid” (as his Teacher). Moreover, coming to the above – mentioned sharp and sarcastic
question of professor Mammadhuseyn Tahmasib (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, 20]), here let’s pay attention to some subtle
nuances. First of all, it is bitter regret that a distinguished professor’s who gave valuable contributions to our
folklore study science, and especially, had invaluable services in the field of collection, recording,
publication and study of our eposes, humiliating and calling our goshmas and geraylis as “small poems” and
telling that it is easy to create them. In our opinion, on the contrary, not only to create epos, but also to create
poetic goshmas and geraylis – to express great points with few words requires great talent and skill from
master. Though hundreds of master ashug create hundreds of eposes, in our opinion, again only the following
lines of Gurbani are more precious spiritual wealth and more valuable work of art:
“Come in to the garth my loving kindness,
Let the garth be lightened up from your magic fairness.
Picking up, wearing on chin with bunches,
Violet smells girl and the girl violet” [10, 85].
On the other hand, just these “small poems” – goshmas and geraylis organize the integral part and core of
epos. We consider that to create eposes based on the goshmas and geraylis, tajnises of master ashug is like to
build a house from finished products (stone, sand, cement etc.).
Moreover, if the “gifilbend (a kind of Azeri ashug poems), opening and closing parts” in the eposes
belong to master ashugs and at least, brief history (location or place) of each goshma, gerayli, tajnis,
mukhammas (Middle Ages eastern poem of five lines), gıfılband (a kind of Azeri ashug poems), opening and
closing parts is known (it is clear that in most cases, master ashugs at least had spoken about the history of
most of their poems, interesting and unusual stories, kind of poems composed by ashugs and their
experiences with other master or non-master ashugs ), that here which great talent and skill can be required
in order to create epos about that master ashug, to create epos shall be easy to create valuable masterpieces –
beautiful poetical samples with great skill ?!
And on the other hand, we don’t have any evidence or proof for calling ashugs coming after Gurbani,
Tufarganli Abbas and others as “unknown ones” and we don’t have any right to do this. As such eposes can
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