Nizami Tağısoy
Qaraqalpaq ədəbiyyatı
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GARAGALPAG LITERATURE
RESUME
Among the turkish literature Garagalpag has its own
place with deep ancient roots which is very rich with pictorial
views. As other literature, its sources are folklore and epical
epos, and it keeps its ethnic –national completeness and also
it reflects figurative struggle spirit. Garagalpags who lived
in different historical times and places such as- in Kharazm,
Bukhara, Fargana, Middle and Great Chuzun --- they always
fought against chungar-kalmiks and Nadir shah army. At
the same time they have lived in calamitous periods fighting
stocks with each-other, in result they had become refugees and
forced emigrants. At last the fighting of those people caused
with their living in one Autonomous
Garagalpag district in
the territory of Uzbekistan at the beginning of XX century
(1920), and in 1990 as the Republic of Garagalpagstan. They
settled not only in Garagalpagstan but also in Uzbekstan,
Gazakhstan, Tukmenstan, Afganstan, Iraq, Turkey, Russia
and also in some other territories of different states.
For many centuries garagalpags’ rich verbal poetry has
developed greatly and a lot of lyrical examples can be shown;
“hey jar”, “betasar’, heyya, haytar,koslasu, jolausu, bedik,
gulepsan, ramazan” folklore and historical songs , proverbs,
sayings and riddles, also mythical stories, legends, jokes,
fairy-tales have come to our everyday life. A lot of genres
of Garagalpag folklore are close to other Turkish people. As
in Azerbaijan , Anadolu Turkish, Turkmen, uzbek, gazakh,
Gagauz, kumukh,--- the poetic
competition genre is widely
existed in garagalpag literature. Although Garagalpag
ceremony- poetry form it has its own wedding samples
childish, sorrow, love songs of Azerbaijan and other Turkish
similarities can be found in garagalpag literature.
Although the less number of Garagalpags, they have
created nearly 50 heroic and lyrical-romantic love epos.
Among them ‘alpamus’, gurbanbey, koblan, bozoglan, girx
giz, yer sora, yer ziuar, maspatsa, sahriyar garib asig,
yusif-
ahmed’ and others are rather interesting.
Garagalpag folklore and epos have played important role
in classical written literature and it forms the basis of people’s
national culture.
The folklore of Garagalpag is rich and colorful. Its a lot of
samples balance the ancient written works which are in small
number. At the same time garagalpags with other Turkish
people, ancient Orkhon-yenisey manuscripts, Mahmud
Gashgary’s ‘Divani-luget-it turk’, Yusif Balasgunlu’s
‘Kutadqu-bilik’, Sheikh Ahmed Yasvi’s ‘Divani-hikmet’,
Sheikh Yugneki’s ‘Hibetul-hegait’, ’Kodeks kumanikus’,
’Oguzname’ and other ancestors’ monuments are taken into
account.
A number of examples concerning Garagalpags’ early
moral lives haven’t reached our today’s life. That’s why the
names of creators’ living in the XIV –XVI centuries are not
known to us. Along the centuries garagalpags who had no
written works they have kept their epos and folklore only in
verbal form. Probably the coloring of garagalpags’
folklore
and epos richness must be explained like this.
In Garagalpag literature individual creation samples
only occurred in XVIII century. At that time a well-known
representative in literature was Jien Jirau. He was a poet(jirau).
In Garagalpags jirau family tree goes up to XIII-XIV centuries.
Jirau melodies must be estimated musical encyclopedia and
as literary culture sample.
F.Karamatly and some others were interested in
this fact. Jiraus have a firm standing in Garagalpag. The
Nizami Tağısoy
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people remember these names—Jien, Shankay, Jiemurad,
Nurabillan, Yerpolad, Gurbanbey, Toren, Ataniyaz, Oguz,
Giyas, Chumabey, Shahmurad, Yakhilig, Kaipnezerin and
other jirau names are kept in the
hearts of the people with
great affection. Besides, in garagalpags baksies are also
influencial, for example, Garibniyaz, Akimbet, Kutim, Musa,
Chuman, Eshbay, Bayaniyaz, Eshan, Garajan Chapag, the
great poet Berdag’s daughter Hurilman who gave their
gifts to garagalpag literature. The individual creative author
examples in Garagalpag representative of the literature of
that time was Jien Jurau. He was –teller(Jirau). In Garagalpags
jirau genealogical tree goes o nigays—in XIII-XIV. The musical
encyclopedia of Jirau must be estimated as literary culture of
the nation. Gopuz as a musical instrument
of Jirau the world
turkologists V. Jirmunski, American Elda Laude Sirjaues,
Lorens, I.P.Pikken, ger
man K. Rayxl, Turkish scientists
M.Argun, uzbek T.Mirze and shan, Garachan Chapag, the
daughter of great Berdagin are the craftsmen of Hurliman
baksi’s creation.
As we noted Jien Jirau is known the first garagalpag
poet. Tragedies happened in XVIII century were just before
his eyes. The historical process in Sirdarya region Jien’s ‘Good
bye, friends’ , ‘ Return my heifer’, ‘Ulli tau’ and ‘Destroyed
nation’ has described entirely. The personages in these
examples were in the centre of mind.
Such realistic attitude towards environment can be
found in poet Gunkhoca’s creation in XIX century. He is the
real follower of garagalpag classics such as Haciyaniz and
Berdakh. Gunkhoja is a poet directed
all his literary thinking
to the written creativity. As he was the founder of satirical
lyrics in garagalpag literature, he also raised world-wide
problems. On this point his ‘address to Yarimkor’, ‘Who I
was’, ‘Together with nation’, ‘Cowboys’,’Reaping hooker’
and some other works are interesting, such kind of samples
as a rule are directed to whip the ruling system of khans.
Exactly, garagalpag poetry could be risen to the top level.
His difference among the other poets is that he created not
only in garagalpag literature but also in uzbek language. He
closely got acquainted with Nizami’s, Navai’s, Mahdimgulu’s
and some other Turkish poets’ creativity. His works had
been widely spread among uzbek and gazakh nations. He
had translated Mahdimgulu’s works into the garagalpag
language. He was known as a first poet in (mukhammas)
Garagalpag poetry. Hajiniyaz’s poetry had been known as its
melody , intonation and successful comparing and also could
enlarge its limits of his poetry.
Berdag’s creativity is considered to be the top of the
classical garagalpag poetry.
The historical theme played
the leading role in the works of this craftsman, for instance
to say ‘Amangeldi’, ‘Aydos baba’, ‘Yernezer bey’ and some
other works have brought struggle to garagalpag nation,
besides in other works such as ‘A bride’, For the people’,
‘My son’, ‘Don’t be ignorant’, ‘Tax’ and others are directed
against the exploitation of the nation. Berdag’s works
translated into other languages and they have been reading
far from Garagalpagstan. Berdag’s poetry is better known by
Azerbaijan poet Huseyn Arif’s translations. He translated
Berdag’s poetry successfully keeping all the original elements
of the poems. Even he paid attention to crossing points –Xeste
Gasim, Ashig Ali, Dede Alesger—adequatly he could create
the translation points.
It is important that individual creativity of garagalpag
representatives (Jirau, Gunkhoja, Hajiniyaz, Berdag) could
influence
the poets Omar , Kulimbet, Saribay, Gulmurad,
I.Yusupov, N.Japakov and others.