Buryat Epos "GESER" Material on the topic. Heroic Epos Buryat What is Buryat Heroic Epos

GESER ( Geers, Gecap, Kecap) - Character of Tibetan myths and myths of Mongolian peoples, including ( Abay Georer Gubun), as well as a number of Turkic (Salary, Yeah Uigurs, Tuvintsy, Altai) and Tibeto-Burmese nations.

GESER - character of the myths of the nations of the East

Gaser - hero of epic tales and poems, an object of developed religious and mythological cult. The initial core of the legend seems to be in northeast Tibet. According to the leishes about Gasare, in the state of Lin, which did not have the ruler, was sent one of the three sons of Heavenly Lord. It is reborn in the line in the family of one of the princes ugly, a snotty child named Jorus. He is haunting his uncle on the father of Thotun (Mong. And Kalm. Tsoton, Choton, . Sota, Hara Zutan). As a child, the boy exhibits wonderful abilities, destroys various demons, wins in an equestrian competition for possession of the beauty of Oppon (Rogmo-Goa, Urmai-Hochon), the throne and Treasures of Lina. Then he gets a wonderful champ from the sky, acquires his true majestic appearance and the name of the GESER. Gaser wins the demon of the North, the Godded Lubsan with the help of the spouse of the Mesa Bumjid (Mong. Tumen JargalanAccording to some versions, including Mong., She is the ex-wife of Hear, abducted by the demon). Mesa Bumjid brings the hero of "drink of oblivion", by drinking which, he remains in the north.

In Lina, Thotun, in vain the happiest, makes a betrayal, as a result, the choir (Mong. sharay-goals, Buryat, sharablin khana), Capture the earm, and she becomes a wife of one of the Horical rulers - Gurkara (Mong. Tsagan Gert Han, "White Han"). Having dropped the journey thanks to heavenly intervention, the Gaser hurries to his homeland. In the appearance of a bad boy (Mong. Oldzhibay) He penetrates the choir, the Witchcraft kills Gurkara and, subducting his state, and he returned to Lin along with the soup. According to a number of plots, the GESER goes to China, where with the help of wonderful funds, he produces a princess, reflects his earthly mother from Hell; Destroys the demonic rulers of neighboring countries (in the north, south, east and west), subordinating their subjects of their power. In the Mongolian legends, GESER revives the warriors who fell in the war with Sharaigola.

The ancient core of the image of the GESER - a cultural hero who cleans the Earth from the monsters (CP. Indian frame). In the oral Mongolian tradition (and in the Buryat version of the epic), the hesome was approved by the reputation of the fighter of demons and monsters (Manguses). As a separatist ruler and even the first person, descended from the sky, Göser dates back to Dobddy, Bon Tradition. In a number of options for the epic, the GESER Father - Mountain Spirit. Given the connection with the Deity of the Holy Mountain, as well as with the world mountain, the GESER is perceived as the ruler of the Center, opposed to the rulers of the Okrain, the fight against which essentially adequately the civilizational activities of the cultural hero. Sometimes the hetero-rule itself of one of the four countries of the Light - the North. But, apparently, the most ancient localization of Geser - Croy (possibly from the room - the Iranian name of Byzantium). Under the influence of the Indian and Buddhist mythology, the father of Gesera is Brahma or - in the Ladak (Westybetic) version and in all Mongolian - Indra (Mong. Khormust; Western Buryat his place sometimes occupies a shamanic deity Esege Malane Tengri). In the similarity of the functions or the appearance of the incarnation of the GESER (or its wonderful champ), a number of characters of the Lamisian Pantheon are close; Like the deity of the war of GESER (TIB. Dalkha, Mong. Dysuttengri or Daichin-Tengri.) Sometimes it is identified with Jamsaran. Later (from the end of the XVIII century) is the identification of Géer with God of War in Chinese mythology - Guan Di.

In the cult practice of GESER as a universal protective deity (like most of the deities) acts as a patron of warriors, a defender of herd, the winner of the demons, the submitter of happy fate (including hunting good luck). In the shamanic calls, GESER is sometimes referred to as Burkhan or Tengri, he is called the son of the sky, who lives over the high white mountain peak in the house from the clouds and fogs. In contrast to Tibet, where many associates and opponents of GESER are also deified, the Mongolian peoples are the object of cult worship is only a GESER.

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Literature

1. Abai Gaser. Enters. Art., Text Preparation, Per. and comm. A.I. Yulanova. - Ulan-Ude, 1960.
2. Vladimirtsov B.Ya.Mongolian literature // Literature of the East. - Vol. 2. PB., 1920.
3. Damdinsuren C,. Historical roots of Heariad / Kozin S.A. (Per., Intr. and Comm.). - M., 1957.
4. Gueryada. Take about gracious Gees Mergen Khan, the eradicator of ten evils in ten countries of light. - M.-L., 1935.
5. Neklyudov S.Yu. Heroic epic of Mongolian peoples. - M., 1984.
6. Neklyudov S.Yu.Tale of Hese in the Eastern Communion Epic Tradition // Olon Ulsykin Mongol Erdamantine III of their hural. II Battle. - Ulaanbaatar, 1977.
7. Neklyudov S.Yu.Transformation of mythological theme in oral Eastern Agol versions of the geeryada.
8. Rinchinsambu G.(Sost.) Mongol Ardyn Baatathalag Touls. - Ulaanbaatar, 1960 (Studia Folclorica, Ulaanbaatar, T.1, Fasc.1)
9. Homonov M.P. Mongolian geeryada. - Buryat book publishing house.

Heroic-epic legends - Uligers (ULGER)they are basic in the system of genres of oral-poetic creativity Buryat. In their form, these are large poetic epic, which ranges from 2 to 5 thousand, and larger - from 9 to 20 thousand or more poems.

Large sizes, as a rule, are distinguished by numerous options for the main monument of heroic-epic creativity Buryat - Epos "Abai Gaser". One of his options is "Abai Gaser Bogdo Khan", recorded in 1916 by the famous folklorist S.P. Baldaev from Uligishshina A.O. Vasilyeva (Alfora) is more than 50 thousand poems. In Ustigrah, the feats of the ancient bogaties in the struggle with multi-headed, multi-fashionable monsters-mangaadhyaes and faint-grained khana-invarious teams for freedom and prosperity of the information bottle team. Protection of native focus, people (zones),subjects (Albat zones),his property - cattle and herds - from enemy encroachments, the struggle for the narrowed, is the leading theme of most heroic-epic works. Uligers are the top of the oral poetry of the people. Artistic traditions in epic creativity Buryat are distinguished by special development. The wealth of the content, the visual color of the word, its ancient power and power, the slightness of the narration has always captivated and fascinated people, attracted the attention of scientists and gathers of folklore to the urgers.

For many centuries, at the time of the productivity of the epic tradition, when the folklore possessed a monopoly in spiritual and poetic life, the Buryat people created hundreds of Ustigov. (Now in the collections of the rhklk fund, there are over 900 streets, fairy tales, legends and legends).

Their names corresponding to the names of heroes represent a wide variety. A comparative analysis shows that in each tribal and territorial community there was a set of names of popular epic heroes. So, in Western Buryatia, Ehirites, Bujdatov and Hondodorov had a wide distribution of Udigiers: "Abay Gaser Khubun" or "Abai Gesere Bogo Khan", "Alami Mareng", "Altan Shagay Mareng", "Karasgai Mareng", "Osodor Maran" , Erencey, etc., and in Eastern, in Transbaikalia, at Horintsev: "Geserei Tuezha", "Loda Meargen", "Zhibzheni Mareng", "Abaday Mareng", "Manelte Maran" and others. The most common and beloved from All divisions of the Buryat ethnos were Epos about the mighty Bogatira Abay Gasare.

If at the beginning of the XX century. The living functioning of the epic was observed almost throughout the settlement of the Buryat (Predagical and Transbaikali), partially persisted in separate regions in the 1950s, then in our time, with the disappearance of traditional living conditions and life of the people, with the life of talented Ureigershin, oral The existence of Ugraders gradually faded. And now in the Buryat uluses there are no longer left of the authentic connoisseurs of the epic.

Folklore researchers familiar with the Buryat heroic epic, always celebrated its archaic, good safety of the mythological basis (Ulannov.1963; Sharakshinova.1987; Chironov.1976).

Academician B.Ya. Vladimirtsov, calling the Buryat Uligers "real epic", explained their "amazing primitive" centuries-old development and formation of hunting hunters in the harsh environment (Vladimirtsov.1923. P. 14-16), which contributed to the preservation of numerous elements of ancient mythology, animistic and tumistic ideas, genetically leaving in the depths of primitive community life.

The fulfillment of Urgers initially in the old days was a matter of responsible and served not only to entertain the listeners in the hours of leisure. It had production and ritual significance and was an integral element of the household text of an ancient team. Ts. Zhamezarano, who began his gathering activities in 1903. Western Buryat (Valley of the river. Kuda and the Verkhovye r. Lena), wrote that "the street is singing (affect) to achieve different benefits, for example, for the healing of patients, to insight blind , for the sake of the sake of fishery, on the hunt, on the clips, during fishing, etc.; Ustiver contributes to success in the campaigns " (Zhamzrano.1918. P. 17).

There was a deep faith in the "magical" power of the oral-poetic word, in its effective importance. The hearing of the Ustigov was part of the ritual of prejudicial preparations, as it was "a kind of powerful magic, charms to attract animals" (Zhamzrano.1918. P. 33) And the Hunters of Transbaikalia also was distributed - Hori-Buryat, Tungusov in the headwaters of Onon. According to the testimony GD. Santohev, who wrote in 1928, on the left bank a number of major uliggers, Buryats, arriving at the place of hunting, "made some rites, who had the goal of accustomed to the spirits of animals and forests, on which he depends on this or that outcome of the hunt. Then in the evening, before bedtime, singer Dailed his white felt in the chaolache (not blurred by horseback later), it was put on the branched juniper branches, a cup with wine or milk, stunned the arrow in it, etc. And all night, until the first glimpses of the morning dawn, hung their epic) without this The hunting ceremony, by conviction, Buryat, could not be successful. " (Santohev.1936. S. IX-X).

The presence on the climbing the best performers was considered mandatory. They were distributed by lights, and then generously gifted all parties to the clouds (Zhamzrano.1918. P. 33). About the beliefs that approve the healing power of epic tensions, also writes M.N. Hangalls: In the years when heavier diseases are rampant, it is especially useful to tell Ugra about Bogatira Abay Gasare Bogo Khan, since the unclean forces are afraid of him. The hearing "Geser" before the long dear foreshadowed well-being and success in affairs (Hangalls.1959. T. P. P. 320). Udigiers listened in long winter nights, in those months when the Pleiads were visible. It was forbidden to tell them in summer, in the spring.

Sacrality aspect has always been accompanied by performing practice. At the time of the execution of the epic, an invisible presence of his heroes, which, allegedly, for the complete and correct transmission of events in the tale could be awarded Uligishshina. Heroes of Ustigov, according to beliefs, were not ordinary mortals, but Tangri deities. At the beginning of the XX century. There was still a conviction that the streets are created on the basis of real events that ever happened on Earth, underground or in heaven, and that the "heroes are alive and sweeper" and for the inaccurate transmission of the epic rapeseen in front of them (Zhamzrano.1918. P. 18). The latter, undoubtedly, contributed to the sustainability of the tradition, thanks to which the ancient uglieres could reach this day.

He housed the legend of the high heavenly origin of the Uligov. These observations gave the foundation of C. Zhamezrano to determine the Buryat epic as something "sacred and majestic." Academician A.P. , familiar with the folklore of the Turkic peoples of Siberia and Mongols, also noted that the performance of the epic was surrounded by a peculiar, almost cult atmosphere of the supernatural.

The execution of Urgers was then accompanied by the game on khura -ancient bow musical instrument. Voice of Singing Saucer Uligershina and Sounds huramerging, created a single harmonious whole. Hanging corresponded to the local song tradition. The narrator perceived it with the Uzigremi from his predecessors, teachers. Western Buryat, it was observed more often on the left bank of the hangars, Alari and Unga, less likely, the Valley of the River Vallets and Osa. The Archaic Echimit-Bujalans, recorded by C. Zhamzrano, Buryat Kudinsky Valley in the top, were performed without musical accompaniment. Appearance hurahe testified to the breakdown of ancient performing traditions, gradually dominating the aesthetic function of Uligover. In reproduction of heroic tensions, there were several major performing styles that correspond to the local epic tradition. So, by the note of C. Zhamezrano, Echirite-Bujaitsky obstellers sang Uzigiers from start to the end "loud and broken." The execution was distinguished by epic latitude, calm, slow. Along with him, there was a spinning session, as well as a simple bias characteristic of the "silent" obscene. The third style was provided by Zabaikali Hori-Buryat: prosaic story, interpreted by vocal monologues of acting persons and choral seconds of their leitmotifs. Choral part turaeelge,accompanied sometimes playing on huror yataga.

The living participation of the team in the reproduction of the epic - the phenomenon is characteristic of the streets of Buryat, emphasizing his national identity. Echimit-Bujdatov, in charge of C. Zhamezarano, it was expressed that "those present sang, they invade the rhapsode in the right places, that is, when meeting (HUNTING),at stops (Sayy Daralga)and during the wires of heroes (Ude-Shilge) "(Zhamezrano.1918. P. 25).

Thus, the Uliver himself was Solo himself, and the choir was fulfilled thematically independent of the content of Songs of Songs, consisting of four-eight-grades. IN ugtanga(letters: "Meeting", which implies a meeting with the heroes of Ustigov) - a draft song addressed to the teacher, a desire to listen to Uliver was expressed; in sag Daralga(letters: "Scrappa, a bunch, connecting the ends") listeners expressed over the fate of the hero-hero, wished him good luck in achieving the goal. Songs sag Daralgathey were performed when Ugegereshin did a pause to translate his breath, damp the throat, and performed a specific plot-composite role of ligament-cracks between episodes, since according to ancient reference, the epic should not be interrupted so that the actions of the heroes were successful.

Sag Daralgarefers to the category of "permanent places" and in the Ulgerah.

Udsest(letters: "Wires") sang at the end of Uliger. Its content was addressed to the heroes of the epic, which, according to ancient ideas, invisibly present during the chanting of their former feats should have been returned to the sky. In it, the listeners expressed satisfaction from the performance, and the teacher - the desire for the heroic acts and the Uliver himself was considered complete, and what remained not applooked - it would be stopped tomorrow. These songs had their entanglements, other than a slider recaptive.

Creators, keepers and performers of the heroic epic were Sviereshina's narrator. They used generally respect and love of the people, as evidenced by the proverb: "Ulbishina is supposed to sit on Albok mattress, and the singer is on the hill-dobe." They became people especially gifted in artistic and music, possessing impeccable memory, so that without skips and distortion, as the tradition required, to reproduce huge epic, consisting of thousands of poems: Udiga could not be reduced, redoing in its own way. The talented storyteller was an actor, a musician and a poet in one person. And therefore, a good rape, according to C. Zhamezrano, "the listeners are crying in strong tragic places and express their lively joy when suddenly hesitates the truth" (Zhamzrano.1918. P. 14-15).

According to creative warehouse and manner of execution, Buryat Uregershina are conventionally divided into "canoniki", holy preceding tradition and seeking to observe the accuracy in reproducing the learned text, and "improvisers", in the executive skill of which a personal start, individual taste and character can be traced. To the first, by the general opinion of Buryat folklinists, Pöhon Petrov (1866-1943), who lived on (Uyga Island) in Alar (now Nukutsky) is the area of \u200b\u200bthe Irkutsk region. He knew well not only ultrasound, but both shamanic poetry, fairy tales, old morals and customs, the tradition of the execution of Uligover, believed that the Heroes of Uligover continue to exist in the sky in the image of stars. From him in 1940-1941 I.N. Madason was recorded one of the best Ungin Epos Options "Abay Gasare" (12535 poems) (Abay Gaser. 1960). He did not sing Ustrera (there was no voice), but told as ordinary poems. Possessing the phenomenal memory, reproduced Ugra "Without thinking and stopping for a minute" (Baldaev.1961. P. 37).

To the second type of performers includes another Ungin Statement P.M. Toshemilov (1877-1955), demonstrated in his performing practice a more free, liberated style, a strong improvisational principle, aspiration to poetic innovations, to varying in the transfer of the traditional "text", because of which the streets in its execution lost traditional traits and clarity composition (Ulannov.1968. P. 19).

P.M. Toshemilov occurred from the famous teacher dynasty in Priangarya, possessed the outstanding talent of the singer-improviser and enjoyed glory not only good Uligishshina, a connoisseur of oral folk creativity, but also Lekary, clairvoyant. Close to P.M. Tushemilovoy in the manner of execution was a popular patient and singer A.O. Vasilyev (Alform) (1887-1945), famous for the beauty of his mighty bass, famous for the beauty of his mighty bass and teacher skill. Uligera, like P. Tushemilov, sang, accompanied on hura; I went through uluses, looking for rivals on the contests of singers-improvisers.

From him was recorded the largest version of the "Geser" (more than 50 thousand poems), characterized by the originality and completeness of the story development of mythological (heavenly) prologue of the Geseriad.

At the time of the productivity of the epic tradition of the streets knew if not all, many. Almost every ulus could be found gifted teachers whose names are still stored in the memory of old people. There were among them and women. Sp. Baldaev, more than sixty years, collected works of oral folk art, mentions the four hundred Ureigershin. The history of Buryat folklores included the names of the best, those from whom we were lucky to fix starting from the end of the XIX century. Until the 50s of the XX century, samples of uglyers. it

P.P. Petrov, P.D. Dmitriev, P.M. Toshemilov, B. Zhatuhaev, P.S. Stepanov, N. Irinsheva, B. Zurbanov, M.G. Shaoblaev, O. Khaintayev, S. Shanarsheev, H.N. Terentyev, I.I. Dagdanov, N. Tuzhinov, A. Geleken, etc., who lived in Priangary; M. Imgeneov, E. Shalbykov, L. Bardakhanov, B. Brulaev, B. Barnakov, N. Gulkhanov, A. Batlaev, P.P. Baldaev, A. Toroev and many others who lived in the valleys of the Kuda rivers, wasps, Ida. The repertoire of them, as a rule, consisted of ten and larger poems of heroic tales, not counting small, having a fabulous character. Almost all of them were Geeshins - beautiful connoisseurs of the famous Epopea "Abai Gaser".

In Transbaikalia, the names of the Galdonov Baikaar (Hara-Shibir), Ampruna Chingueva (Oneon), Galsenian Tykayev (Aha), Harmápa Baldanov (Selenga), Dae-Shibylov and many others, from which Zhamezrano, P. Baldanjapov, were recorded, . Popp and others.

A special place in this gathering of the names is occupied by Mancheut Umegenov (1849-1908), the hereditary Ulushshin from the Ulus is smoked by the Kudinsky Valley. In 1906, Zhamzarano recorded the most archaic and original from all the well-known national versions and options for the Gaseriad - Epos "Abay Gasher-Khubun", and also not having an analogue of a separate cycle about the sons of the hero: Oshor Bogdo and Hurin Altai (first published In 1930). Undoubtedly, he was an outstanding performer, a mature master who managed to reproduce without listeners, specifically for recording, traditional Echirit-Bujala epoching, retaining the pristine freshness, beauty, power and charm of an ancient monument. For seven days and nights, he lost to the gathering of 22074 verse, without cutting "framing" invoked and farewell, plug-in songs, traditionally executed by listeners. Scientists unanimously recognize the high artistic advantages of this option, it was he who was the basis of the last academic edition of the epic (Abay Gaser ... 1995. P. 8-418).

Buryat obstellers were not performers professionals. Usually it was simple rural workers - herders, farmers, hunters. Epic legends were perceived since childhood, mainly in the family, less often - from countrymen. Over time, the repertoire was replenished. The work of each Ugrashina developed as part of the inherited regional tradition and had its own individual style and originality. Talented folk patches retained the entire local ugly repertoire, creatively developing and enriching it.

In its staging-typological characteristics, the Buryat heroic epic is classified into three groups: Echimit-Bujalak, Ungin and Horinskaya. In the first two, the Uzigreers that have existed from Western Buryat are included: in the Kudinskaya Valley, Upper Lena (Echimo-Bujalak, Kachuga, Bayandaevsky), on the valleys of the Ida River, Osza, Training (Bohhansky, Osinsky), in Priangarya (Alar, Nukutsky), districts Irkutsk region, and in the third - Eastern Buryat Ustyers living in Transbaikalia (Buryatia, Chita region). In all three groups, there is similarity in the plot structures, motifs and images, as they are united by a general mythological fund and a single general-time epic tradition.

The most archaic is the Echirit-Bujaital Epos, since it prevails the features of the hunting mistake of the life of the Creators of Uligover; elements of totemism, animism, various cults, motifs of twottenness with animal characters; Turnover (metaphorphism), fabulous motifs. In the plots, it was developed by two central themes: walling and marriage of the hero; The fight against monsters-mangyadhi and enemies-alien.

A sample of Udurai Mareng (1868 poems), recorded by C. Zhamezrano in 1908 from B. Burlaeva in Verkhnelensky county. The plot structure consists of the following links: 1) 15-year-old Aidurai Mearman kills a woman with zoomorphic features on the hunt; 2) The horse advises the sister of the hero, the Device Agui Nogin, bring the girl's stay-cake - the daughter of Egypt Munhu Khan; 3) Agui Nogin, changing into men's clothing, the branch of the brother's body in a mountain cave is sent to the long journey; 4) overcomes different obstacles: Study, heat; turns on the bird, then animals; Britain, hiding them from death, with ants, frogs, huge bird, dog; 5) passes safely deadly tests, suitable for the "fiance" by the father of the bride due to the help of the twin and its horse; 6) returns home with the "wife" - the Virgin Sundar, and herself hides; 7) Daughter Khan revives Aidurai Mearman; 8) The heroine returns home when twins are born at the brother. Brother issues sister married alien.

This type of Uchiligov in Echirit-Bujouca Epos is very popular. The plot development of the topics of heroic walling differs in them with a large variety and at the same time the stability of the main motives: the death of the hero, the campaign for the Virgin Sundar, overcoming obstacles; struggle for the bride; The revival of the hero. This is the simplest, single-maintain plot design. The main acting person committing feats is the Bogatyr Virgin - Sister Hero, and not a bogatyr, whose name is called the work. This plot-narrative type: "Sister is producing a brother of a narrow-awkwardness" is considered the earliest in the system of heroic-epic creativity Buryat. It is implemented in Uzigrah: "Aidurai Mareng", "Erzhin Maran Golubun", "Yagur Maurgy Golubun", "Altan Sagse Khubun" and others. The topic of combating monsters and enemies, innovations usually missing or is the character of late introduction. The main idea, expressed in them - the struggle for the foundation of a monogamous family, the establishment of an exogamous marriage, characteristic of the heyday period of the generic society, approves the primacy of a man in a family and childbirth.

The topic of combating monsters-mangyadhi and enemies-invoices receives its development in the Echimite-Bujala Epos with the activation of the actions of a man's hero and the weakening of the role of the sister ("Alami Mareng", "Bukhu Hara Khubun", "Gonghabai Marygan", "Erencei" and others .). The number of urgers increases, where the hero himself mines his wife. With the development of a slider genre, with a gradual nomination to the first plan of the warrior hero, the defender of the family and the family, the theme of the matchmaking loses its leading role and becomes one of the elements of the epic biography of the hero. The plot structure of the narration is complicated, multi-storey suite appears. An example of a typologically mature epic is the Echimite-Bujala version of the Epos "Abay Gasher-Khubun" (Recording Ts. Zhamezarano from M. Imgeneova), where the process of biographical and genealogical cyclization is traced (the tale of Gasare and his sons Oshor Bogdo and Grin Altai). But in general, the features of the "hunting" epic caused by his proximity to mythological origins dominated by Epos Echirit-Bujdatov. It is still significant the role of mythical zoomorphic, zoo-anthropomorphic characters - assistants, patrons, opponents of the hero. Resistant motifs of "difficult" instructions of the father of the bride; animal britany; Help them in wedding tests; Supernatural abilities of the hero (magic and common world). Opponents, the enemies of the hero - mostly monster mangadhai, having an incredible amount (13, 33, 67, 77, 95, 108, 300, 500, 600, 1008) heads (sometimes horns). They ruin the property of heroes, kidnap his wives. Bogatyr protruding

one, there is no warriors, Batamors. His fight against the enemy is depicted in the form of Bogatyr martial arts.

Traced in the Echimit-Bujuza epic, in addition to the two main topics of brother and sisters, uncle and nephew, husband and wives, reflecting conflicts between members of the patriarchal family and the family. For example, two plot-narrative types are being implemented in Ustigere "Alami Mareng:" The sister is produced by the brother of the narrow-awkwardness "and" uncle ruffle a nephew to take possession of his property "related to the time-based cultural formation. Depending on the evolutionary development, the attitude of the sister to his brother in the suite can be both positive and negative, hostile. So in "Kharasgai Maren" and "Schonachnaya Margene" sisters to marry, kill brothers, but later they are cruel for it, as well as the Untan Durai - Wife of Erencey ("Erencey"), which, betraying her husband, goes to His enemy is mangyadha. The son escaped from the death kills not only Mangadhaya, but also his mother. A painful execution for treason exposes his wife Gagurai Nogin. In these hotels, the struggle with the remnants of the parental family, the essence of the Patriarchate, the power of the man above the blood bonds, is once closely associated with the members of the parent.

These are the main features of the archaic echiro-Bujaital epic representing the "bottom layer", the "initial stage" of the heroic-epic creativity of Buryat, but on the wealth of motives and images, superior all other Buryat traditions (Santohev.1936. S. XXXV).

Such uchillers were distributed mainly in Echimit-Bujouchatsky, Bayandaevsky, Kachuga, partly by the Bohansky, Osinsky districts of the Irkutsk region (Ust-Ordi Buryat Autonomous District).

Other type of Udigerov extended in Priangarya: the valleys of the rivers of the rivers, the wasps, steppes of Alari and Unga. The records of them, produced only on the left bank of the hangars since the 80s of the XIX century, revealed the rich folklore tradition who flourished there in the past. This region can be called the reserved edge of the Buryat epic: the total number of hotels collected there from the end of the XIX century. until the end of the 50s of the XX century. M.N. Hangallov, Ts. Zhamezrano, GD Santohevy, I.N. Madason, JV. Baldaev, A.I. Ulanov, N.O. Sharakshinova et al., It is about a hundred texts, including twenty-options of the Haseriad, part of which was published in recent years (Abay Gaser. 1960; Burface.1990; Abai Gaser ... 1995).

Heroic-epic legends that have existed on the left bank of the hangars were allocated to a special group called "Ungin Epos" GD. Santohevoy (Santohev.1936. P. 58.), since they recorded in 1928 from N. Tuzhynov, A. Gelekova, and Sh. Savranova in Ulusakh, the middle kuita and Bulut (Valley of Wormy River) five rather large uglies: "Altan Shagay", "Bulgan Tol-Goy Khubun", "Five-year-old Tii Mareng", "Lategories of Ulandai Mareng", "Ere Torholei Mareng", from 1550 to 4314 poems and three little "Maiga Durg", "Malala Alala BULAG", "old woman of the horror "- in volume from 150 to 518 poems (Rwvk IBIT SB RAS, Foundation GD Santoheva, Inv. No. 2224) in its genre-typological features differed from Echimit-Bujouca Uligov. The scientist believed that the Ungin epic "is the completion of the entire Buryat epic, and the Boulagatsky is its lower layer, its initial stage" (Santohev.1936. P. 25). The carriers of this epic tradition, along with Bujalats, were the ones in the XV-XVII centuries. From the feudal Mongolia Hongery, Zungara, Ikinati and Ashbagata, the epic repertoire of which reflecting developed social relations undoubtedly had an impact on the local, basically identical to Echimite-Bujaatsky. The formation of the Ungin epic took place at that time when the steppe palaces of the Patriarchal-feudal relationship (XIII-XVI centuries) began to develop a patriarchal-feudal relationship (XIII-XVI centuries) (Ulannov.1957. P. 112-114, 159-160; Ulan.1963. P. 204-205; Sharakshinova.1968. P. 30-34) and the ideology of the state of the paternity, the era of military democracy, found their natural reflection in it.

Epic latitude, monumentality, picturesque wealth and diversity of content, the complexity of the form is a distinctive feature of Unginian heroic epic. Thematic and genre range, the plot-eventful coverage in it is much wider than in the Echimit-Bujouca and Horinsky epic. For the most part, these are multi-storey, multi-friendly works consisting of 2-3, 4-5 and 6 moves (parts), with the exception of multi-cyclic (genealogical cyclization) of the heroic epic on GESER.

If the main content of Echim-Bujouca epic was the heroic of the struggle for the narrowed and "military" themed topics was mainly related to it, then in Ungin, the heroic pathos switches to the fight against robbing raids and hijackings, for the release and return to the homeland of captive households, subjects, captured Property, and marriage, the founding of the family, which were super-tasks in the archaic tradition, is moving into the background, it becomes only a "initial situation", a prerequisite for the start of heroic activity (Santohev.1936. P. 37). Themed Unginskaya Ungers are divided into four groups: 1) about the heroic walling, the fight against mangyadhi, alien khana and baunts; 2) about the struggle of the hero with blood relatives (about intratous and family conflicts); 3) on the struggle of the Bogatyr maids with monsters-mangaadhyami (about Mangadhaev); 4) On the revenge of the horse Batar, who destroyed herd.

Combining, the artistic implementation of two topics in one work is a characteristic feature of a Unginian epic tradition, where the first part of the story is usually dedicated to the matchmaker, marriage of the hero, and the second is to fight enemies. The binding thread between both parts of the majority of Uligers is the tie (hijacking, abduction of herds and herds, the ruin of a homely focus; Lavieving households and subjects; sometimes - challenge the enemies of the hero to the fight), which finds its permission in the final of the second part (the destruction of the hero of the enemy, the return of the abducted , restoration of peace and tranquility). The plot structure of the Unginian Urgers consists mainly of the following motifs: departure from the house for examining herd and herds (sometimes exit is not motivated); Detection of shortage, hijacking of herds and livestock. Option: Tabuny and herds have spread in a reasonable amount and hero of sadness - who will pass the property? In case the hero is a childless old man, then sadness about the fact that there is no one to take revenge on the invaders, return the stolen; Posted by childless spouses in the patroness of the offspring; Wonderful conception and birth of their son; adopting a child with an older; wonderful growth and making a young hero, children's exploits; The acquisition of the young hero of the Bogatyr status (the scratching of the heavenly patrons of the horse, weapons and clothing; taming, torning around the heavenly horse; Horseman's praise rider and a horse of the Bogatyr force); The decision of the hero to find their narrowed, marry; definition of its behalf and location; Charges in the campaign and the Bogatyr departure; Bogatyr ride.

Overcoming obstacles: endless sea, impermanent thickens; fiery lava; Lifting to the highest mountain peak, where there is a "live" water (letters: "black", that is, clean, transparent, the lifeful water of eternity - munhaen Hara U.h.aN)and a healing tree (plant); the revival of this water of those killed on the slope of the mountain of people and animals; the transition to the edge of the sky and land (the face where the sky and the earth are closed); lift to the sky; Descent underground.

Meetings and adventures on the way: the punishment of Batamors who boasts their imaginary superiority over the hero; Assistance - Animal (roerage, birds) and brother with them, a stupid batter and a brother with him; brother with winched in battle boys; The death of the hero on the way to the narrowed (from the exhaustion, from the arrow of the opponent in the matchmaking); The hero is thrown into the dungeon well (evil insidious units, quiet, son-in-law; Senior Brothers); transformation of the hero in the stone; The revival of the hero (horse; Heavenly girls-curtains), a narrow-resurrected, three alien healers (Tibetans); The revival of the hero itself of the Batamors killed; Horse extracts the deceased hero of a narrow-respected; the substitution of the bride (marriage on imaginary narrowed); struggle for the bride (competition with rivals in shooting, horse racing, struggle); marriage and return to the homeland; Kidnapping on the way to home; Raisted by the enemy the housing of the hero; Households in the captivity of the enemy (mangadhaev or foreign heroes, khanov); hike on the enemy; Birth of a son (or twin sons); The struggle and victory of the hero above the opponents (mangyadhyami and faint heroes). Destruction of Frank Baba - ManGadhaev's Rhodonachals; The juvenile son of the hero is eager for the mother where the father is located; goes to hike; help the hero of the twin, heavenly patrons; sons; search and destruction of the soul of the enemy; pursuit of the soul (chain of transformations of the pursued and pursuer in birds, fish, grains, plants and people); The destruction of a unborn baby (one or two), who fell out of the womb of the enemy.

The richness and variety of plots and motives, the complexity of the composition differs, as a rule, the first part of the Unginsky epipes dedicated to the topic of heroic walling and marriage of the hero. The evolutionary development of the streets at the new stage occurs due to the growth of their plot structure, qualitatively different interpretation, rethinking, or replacing traditional nodal motifs: obstacles in the way, road meetings, twotten, the death of the hero, the marriage tests and the introduction of new motives and episodes (sometimes plots) , Basically from the magic fairy tale, as a result of which the epic story changes its tonality, acquiring the nature of the enseeration, beating wonderful, which, however, does not change the genre specifics of works. The main topic in the Ustrech still remains the heroic, and not fabulous fantasticity.

Unlike the archaic tradition, the struggle for the narrowed in the Unginsky epic is conducted by the hero. The scene type "Sister is extremely rarely extremely rare (only in two streets:" Khan Sagse Mairgen "," Bogdoni Hubshe Maran and Sister Bojon Gokhon ") and operates in the Uligrah, belonging to the topic of blood-struggle relatives.

Motivating the departure of the bride and rethink. The marriage is substantiated by the need to have the heir to property, avenger and the continuer of the case in the event of their death. The name and location of the distant bride, the hero learns either from the mother, daughter-in-law (brother's wife), or from the yellow book of fate-Zalyan (Zayanai Shara Nomo; Pudar). Usually it is a daughter of Khan or a celestial, who has the ability to "resurrect the dead, enrich the impoverished", as well as the art of reincarnation (tonight). Along with mythological in the Unginsky epic in the images of women, both quite realistic features are idealizing: beauty, wisdom, devotion to her husband, an art in sewing, expressed by the typical formula: "Silk squeezed with a palm with a palm [clothes] with collars; from silk size with a finger sewed Twenty [clothes] with collars. "

In most Urgers, the Bogatyr mined the narrowed in rivalry with other grooms, providing its superiority in the fight, archery, horse racing. Sometimes the future father-in-law gives the groom a disastrous task. So, the hero of the same name Huhgera Huhosa Maran, won in three competitions, is forced to go on the orders of Khan in a hike behind the yellow bile (Sharah.uLEh.ent)monsters Gal Dulma Khan (letters: Khan Fire and Fire-Heat).

In the way, he meets the killed in the fight against this monster of the Chucharphemnaya Bogatyr Hashardei Maran. He lies under the pine, where the bones of other bars are whites. The hero turns into a hawk and forces those who flown past the crows to pour out the "live" water to Hasharde Maran. Bogatyr comes to life, and with him all the dead bastors and warriors. It becomes evergreen pine. Rally thank Hukhosi Margean and wish him to defeat Gal Dulma Khan, with whom they could not cope.

The hero is broken with Hashardei Margen and heading 33 bars and 300 warriors goes to the monster. Before the battle, turning to the fly, it looks out for the situation in the enemy's mill, and then with a squad and the army wins Batamors and Warriors Gal Dulma Khan and comes to a fight with him. The monster breathe on it with fire with fire and flame. Hukhosi Marghan wins the enemy with the help of heavenly deities - the heads of Western (right-sided) celestial officers Esege Malan Tangri and their creators-patrons, who amazed the monster of lightning, kicks a stone deceit and bloody rain.

Having obtained the healing bile Gal Dulma Khan, the hero marries the princess.

Hero of the same name Uligaer, Arnai Garde Maran, hiking for the narrowed overcoming the endless sea. The horse who died from fatigue, revitalues \u200b\u200bthe "lively" water brought with an impregnable mountain peak with a twin-witty bird. It goes away to slip through the edges of the sky and land divergers on the other side, where the bride lives. The future practice exposes it to tests: sends to the student, and then hot barn; It offers one shot to break through three-layer felt, a black stone with a bull with a bull, seventy firewood and get into the opening of the golden disk. Mangadhai kidnaps the wife on the way to home. The hero goes down behind her under the ground, turning around the huge snake Abarga, wins the monster with the help of a twinworm hero. Then, protecting his wife, rises to the sky, turning the hawk. Thanks to the dexterity and speed, withstands the duel with the celestial, seeking to hit it with thunder and lightning. The discouraged celestial gives her daughter to marry the hero.

Hero of another Ustigra, Ere Torholei Bator, in the struggle for the narrowed, first destroys the whole army of his rival - the son of 105-head bustling yellow mangaadhya (Sonag Share Mangadhai) - Erhee Boyarek Hubun, and then wins his martial arts.

Such plots on the topics of the walling, marriage of the hero, where the struggle for the narrowed continues to be interpreted as a boysky, military feat, and the traditional motives overcoming obstacles, twin, marriage tests acquire more realistic outlines, are characteristic of a Ungin tradition.

Compared with the previous one, there is an increase in the circle of the feats of the hero, the expansion of the spatial boundaries of the Lokus Hero. The action sometimes unfolds not only on Earth, underground, in the sky, but also outside the Earth and Heaven.

The heroes of such plots are often leaving for the narrowed only after the acquisition of the Bogatyr status. It is usually late birth to the sons of the elderly parents ("Hukhosi Mareng", "Arnai Gardi Mareng", "Ulandai Maran" and others).

The heroes of the Silgers with a purely fabulous development of the topics of heroic matchmakers are, as a rule, the youngest of the three brothers: Fools and Sneakers, who are not supplied by hopeless people ("Bulgan Tolga Khubun", "Altan Shagay and Munngen", "Khorhor Bogo Khan", " Erbad Bogo Khan ").

So, low in the status of the hero of the same name Uliger, Bulgan Togghoy Khubun (letters: "Sobolinogoloie Well done"), the only one of the brothers, performs the testament of the parents (prayed in three nights on their graves) and gets magic mirrors, three savras and parent blessings. Thanks to this, the sludge wins on the contests of the grooms (tears, jumping on horseback, from the sky, the golden ring of the bride) and marries the Khan's daughter. The sovereign reveals his hidden to the pores of the Bogatyr look only after the election of his princess in her husband.

The second part of this Ustigra is dedicated to the heroic struggle of Bulgan, the Khubun with the kidnapper of his wife - Mangadham, living in the underground world.

In the Urbad Bogdo Han, the old man disappears from the old man, and then three daughters. Senior sons, leaving in search, become the victim of the cunning of road pests. Only the youngest son, a fool of Pakli, returns a loss and marries a powerful sorceress, the daughter of the celestial. Overcoming the magical obstacles, established by her on the border of their possessions (malicious Witch-Magshaa, iron heroes, hawks, magic signal strings), the hero shoots a gold ring in his palace in his palace.

A fool of Poakli Magically turns out to be stronger and singers of the kidnapper and that failed, becomes his wife; Returns father's eyes placed in a vessel with lively water, removes the spells from the sisters who had previously turned in Guardians: Witch-Hagshaa.

Another type of storytelling the topic of marriage is being implemented in the popular Western Buryat Epos "Altan Shagay Mareng". The summary of one of its numerous options recorded in 1928 G.D. Sanzhevik from the N. Tuzhina N. Tuzhina (volume of 3674 verse) comes down to the following:

Altan Stegai Marange gets a challenge to a duel from the ninter young men Gabshuu - the grandchildren of the black women ManGadheki (Emea Hara Mangadhai - letters.: "Black female mandeship"). Decluding a duel for 10 years, the hero leaves for the narrowed Bayan of Monhe Khan, who can "revive the dead, enrich impoverished." In the way, he dies from the arrows of the innovative hero, the opponent in the matchmaker, but he managed to think deadly and him.

On the advice of the magic cuckoo, the Hero's horse turns into a wonderful correspondent in Khan's herd and abducts the narrow-awkward. She revives Altai Stengai Margean and, turning into a gold hawker, flies home.

Altan Stegai Maran revives his opponent with a wonderful stone and britched with him. Arriving to Bayan Monha Khan, woven to his daughter. The narrowed hero sends the servant to see what the groom. That deceives the princess: he says that he is old and ugroen. Then the bride turns into a hawk and flies.

The curtain maid offers confused Khan and wash her in the bath, silent, dress up the princess and get married instead of her daughter.

The hero marries imaginary narrowed. On the way to the house makes stop. Wife walks on khan pira. The princess arrives and, accepting his real appearance, sew Altan Stegai Margean's clothes. The deception of the maiden will soon reveal, Altan Shagay executes it and connects with its true narrowed.

The appearance in the development of the topics of the walling of new collisions - substitutions of the narrowed, the struggle of the servants with Mrs., the abduction of the horse's princess instead of the traditional "difficult tasks" given to the fiance of the father of the bride; The struggle of the Bogatyr Virgin - the Hero's sister for his narrow-awkwardness - significantly change the tonality of the narration, giving it the nature of entertainment. The image of a false, arrogant servants, not catering, creates a number of comic situations in it, introducing a lively jet of the national humor into the heroic content of Uligiger.

Instead of a chain of interrelated motifs and episodes that consistently reveal the theme of heroic walling in the Archaic tradition, in Unginsky there is a growing of the artistic structure of Uliger, the branching of it to quite independent plot-thematic blocks (types): "The horse extracts the hero of the narrow-awkwardness", "the servant is deceiving And marrying the hero ", which are freely" mounted "into the plot composition of other Unginskaya Ungers (" Five-year-old Tarya Mareng "," Altan Gasuuu "," Yermei Bogdo Khan "," Haidar and Buydar "). In addition, they operate in the Unginsky epic and such a storyline: the hero in the appearance of the wandering shepherd-poor thing becomes a husband of a Khan's daughter and fights the false sainties of Han, who assign themselves his merits, which is implemented in the Uzigrah: "Altan Shagay and Munngen", " Altan Gasuuu "et al.

The change in the "Altan Shagay Margene" traditional motifs of the twottency and testing of the bridegroom testifies to the transformation of them towards the realistic reflection of reality, overcoming mythologicalness. The archaic motive of the death of the hero is changed in it, which is forced to act not sister-bogatyrsh, as in Echimite-Bujouca Epos, but his horse.

The weakening of the heroic motifs in the story of the marriage of Altan Stegai Margean is replenished by their strengthening in the second part of the legend, where the bogatyr fights Gabshuu, who violates the contract, in the absence of a hero attack his possessions, cares cattle and herds and taught in the union of households and subjects. Altan Stegai goes to a hike on enemies. On the way, three young people are defeated by the Sons of Black Baba-Man-Gadheki.

At the foot of Mount Orien, the Hero will wait for Gabshu, Gabshuu. Altan Stegai Maran comes with them to the fight, but the forces are unequal. Heavenly Deitys are sent to the aid of his twigracy, but also together they cannot overcome the nine-wing men Gabshuu. Then the celersists predetermine the birth of the hero of two twins sons. They acquire heavenly horses, weapons, clothing and becoming heroes, go hiking after the Father.

Together with the twinth and sons, the hero wins the martial arts of Mangadhaev, burns their corpses, and the ashes dispel. He marries sons on beauties who provided him; I frees brother and daughter-in-law from the brother's brother, destroys the Mangadhaev's nest led by their degree - messenger with a black woman and returns to his homeland, taking his property and subjects. Lives with sons calmly and happily.

Such a plot development of mangyadhai struggle is characteristic of many Unginovskaya Ungreers, telling about two (less than three) generations of heroes (father - Son - grandson), where the decisive role in the outcome of the battle belongs to sons - defenders and successors of the Father's business, although assistance is provided by his heavenly Patrons, twin, and sometimes warriors-well-wishers from the mill enemy.

The main opponents of the heroes in the Epos of the Unginsev, along with the flexible heroes, as in the previous tradition, continue to be monster-mangyadhai, the ancient mythological images of which in the heroic legends of Buryat are presented at different stages of evolutionary development.

In the Archaic Echimite-Bujouca epic, these are terrible, fantastic monsters with a hyperbolized set (dozens, hundreds, thousands) heads and acrase horns, personifying their strength and vitality. Behind the lack of names, Mangadhai differ in the number of these attributes, as well as epithets that determine their characteristic features: 108-head biting yellow mangadhai (Sadag Share ManGadhai),13-head Asuray Yellow ManGadhai (Asuray Shara ManGadhai),where the meaning of the words: "Asuray (Sanskrit. asura. - demon; Angry Spirit), "Zuudag" - biting, biting "(Buryat, zuukha- grab teeth; keep in teeth; To bite [about the dog]), indicate a hostile person to the nature of these images.

Mangadhai is capable of tightening with a stream of air into their huge mouth, swallow without parsing all the living and non-living. From the latter of the killed hero, the monsters usually come out crowds of people, herds horses and herds, ages with firewood, mugs with flour, etc. Sometimes Mangadhai is depicted by cannodies living in the underground world ("Osodor Mareng"). In the images of female Mangadhak, the zoo-anthropomorphic features are buggy. Such is the old mangyadheyka - a 500-headed daughter, a 50-horn old mangaadhya, which has a "white-lady's head, a big old-grazing chin, the only tooth in the mouth, the only eye on the top and sharp white beak" (Abay Gaser Mighty ... 1995; Poems 5433-5437, 7212-7222.) Constant attribute of these old women - "Massage" white leathering scraper (Mitita Sagan Haderge).Copy by his mistress, she, seeking to destroy the hero, is able to pursue him, despicable on the way all obstacles.

Demonic old women also serve as "path pests", treating the streets of the poisonous (worm) tea. In the Echimite-Bujouca version of the Geseriad, they struggle with the hero, in the death of their many-headed Sorodii-Mangadhaev. By cunning intrigue and cunning, one of them turns the Géer to the horse and leads his wife to his son.

Mangadhai in Ulgerakh are always connected with related relationships and make up one big family headed by the older grandmother's grandmother (EHE HOLLY TOODEY),or aunt, whose monster souls are stored. They are saturated with the sons and grandchildren in the fight against the hero and grandchildren with their breast milk.

In the Unginsky epic, Mighty Emea Hara Mangadheyka (letters: Black Sophia-Crank), having anthropomorphic features, who falling on the nose of eyelids hanging on the nose of the breast, the thick belly, falling on his knees. The hero usually finds it for the stretching of the camp with a black iron leather-skinned scraper, which she lifts the eyelids to see the entered, and then tries to kill, mushy for the dead relatives. Like its archaic predecessors, the monstrous babe is angry, aggressive and has not only a huge physical force, but also magical abilities (the blow of their peels turns low-beasts in wild animals). Bogatyry with great difficulty manages to defeat her in martial arts, often thanks to the help of sons and twin.

According to Xu. Neklyudova "This class of characters dates back to the images of the demonic matriarchal" hosts "archaic mythology or varieties of a chonic goddess-mother ..." (Nezludov.1984. P. 115).

In the process of development of the sling genre, the gradual evolution of mangadhaev images towards anthropomorphization takes place. The multi-head of them becomes rudimentary. In the late recordings of the Unginsk Ungers, the trend towards the image of many-headed monsters in the form of comic, stupid spaces (some of their heads of fairy tales and Uligiers are told, other songs sing, the rest - the riddles are sanging). In the Unginsky epic, Mangadhaev is called mainly "hubuns" (Huboon- Son, boyfriend, well done, delets), that is, well done, units - descendants of black baba monster. In their actions and actions, the way of life, they do not differ from the init secable enemies: heroes and khans; Live in the palaces, have an army, bars. Speakers against the hero, not one, but together and differ only in their number and nicknames: Three wellers boybor (Gurban boybor khubood),Nine guys Gabshuu (Yuh.en gabshua khobud)where definitions "Boybor", "Gabshuu"they matter: dexterous, favorable, helply, frustrated. The one-headedness of these Mangadhaev emphasizes especially.

These representatives of the hostile world in the Uligorekh usually live in the mythical country Honin Hoto, located in the north, northeast, in the desert windy edge, where there is no refund. In some ugadhai ugadhai, they appear from water (rivers, sea) or underground (lower) world (Dodo Zambi).In the Archaic Echiri-Bujouca version of the Geseriad, the multiple monsters are on the dark, northern part of the sky, and in the stadially later in their formation of the Unginos of the epic, it is narrating on the appearance of mangyadhaev from the head of the head of the head of evil Eastern (left-sided) celestialists, Atay Ulan Tangri (Abay Gaser ... 1995. Poems 4545-4554; Burface.1990).

In the Unginsky epic, the fight against mangyadhi is no longer random, as before, character, but is an integral part of the heroic acts of the hero, speaking to protect his property, kind and tribe from their robber raids. Much less often the cause of the struggle is the rivalry in the walling or abduction of wives.

The deployed formula descriptions of this struggle (martial arts, group contractions, fights with archery, battle with the participation of warriors and warriors) occupy a significant place in the heroic-epic legends of Unginsev. They are brightly manifested by military qualities of Batamors and Margenov. The epic is idealized men's heroes, excellent qualities of which are determined by epithets that are part of their names: baatar- Bogatyr, Warrior; marghan -letters: Tagged shooter; huboon- in the portable meaning - delets, young warrior, young warrior; eRE- Letters: Male, man. It is used in the epic: strong, courageous, brave man, warrior.

Along with the Bogati Martial Arts, where the outcome of the battle is solved by the superiority of physical strength or with the help of weapons, the hero uses its supernatural forces and abilities (magician, sorcerer, a werewolf), which also possesses his opponent. This usually happens in the fight against a particularly strong invulnerable monster mangyadham, which you can only defeat the "external" soul before (amah.uld Hoore- Letters: Breathing and [Vital] force, energy) stored in an inaccessible place; Or hitting the vulnerable "point" on the enemy's body, which is the focus of his soul. In many-headed Mangadhaev, they are usually one "home" whitening head, located in the middle of its numerous heads, or a birthmark between the blades on the back, or the pupil of the "central" white one of the hundreds of thousands of the monsters. In the Echimite-Bujouca version of the Geseriad an analogue of the soul of an invulnerable baby, the son of the monster, protruding the wonderful thread stretched from the sky, which flows water, saving it in a hot barn.

Plots about mining, fishing, destruction of the soul, chase for her, based on the animistic views of the Creators of the epic, represent a wide variety of heroic-epic tales of Buryat. The soul, represented as a phenomenon of material, has in epic works Buryat usually kind of quail (Budnee),sometimes quails and partridges, quails and OS. The amount of them happens different: 12, 13, 22, 23, 26 and they are in the gold box, which in turn - in a silver, concluded in wooden or iron and hidden in the stomach of mythical animals (toad-three-year-olds, wild pigs) dwelling At the bottom of the poisonous (yellow) sea, or stored in grandmothers or senior aunts monster-Mangadhaev. In one of the UNGINA versions of the soul of the three Sharabell Khan - the enemies of Gesera have the kind of white-silver butterflies and are in the drawer on the very top floor of their palace. And in the Echimite-Bugat epic "Erencey" soul Mangadhay in the form of a yellow stone hidden in a knife-haired reverent wing of a huge bird Han Hardeg.

The mining of the enemy's soul is always associated with cunning, magic, toned. The hero usually comes to the keepers of ManGadhaev's shower, turning their "grandson". Then, magically touching them, breaks the boxes and catches the scornful birds with the help of their magic art: bypowing the cracked frost, collects the rays of the sun on the right palm, and the left destroys the delets flewing to the warmth.

Sometimes the soul, fleeing the persecution, consistently turns into animals, plants, fish, etc. The motive of the chase, based on the presentation of the metamorphism of the soul, is widespread in Epos of Echimite-Bujdatov. The most detailed and colorful plot of chase is found in the Epos "Abay Geser-Khubun" ("Abai Gaser Mighty") Echimon-Bujuchant Saucer Mancuda Imgeneov, where the hero pursues the soul of the Golly Red Mangadheki (Uta Ezi).

Throwing twenty-six quails from the box sequentially turn into a roeger, growing millet, small fish, and the GESER, exterminating them, respectively, in the gray-nasoma hay, nine of the SIZY celestial wolves, nine soldiers, nine shock. And when the last fish turns into thirteen quail, he brings the rays of the sun on the withers of his horse, the rays of the moon - on his croup; Causes bloody rain, stone hail and destroys flying birds.

In the Ungin's epic tradition in the plot of chase with transformations, the hero can replace his arrow, and the soul pursued - his owner, a stranger bogatyr (Altan Schagai Maran's Ugra). In the epic of Unginsev, plot conflicts on finding, mining the soul, and not chase after her. So, in Ulamandai Mergan's Late birth, Ulaandai Mergan; 3307 poems; recorded GD Sanzhevy in 1928, in the Ulus, the middle house of Nukutsky district of Irkutsk region) Hero and his antogonist, one-header mangyadhai erhe boybuke Huboon , I failed to overcome each other in martial arts (since both are invulnerable), they will be laughed in search of a shower, the location of which will be learned by excavating their books of fate-zalyan.

Mangadhai turns into a yellow-petrifying wasp and watches his wife's hero's habies, beauty Shersome Abhai. Then, rising to heaven, takes her appearance and asks the Supreme Conscient of Manzan Gourman Grandmother's soul "her husband", allegedly for her "fortification." And Ulandai Maran, turning around the huge fish Abarga at the bottom of the poisonous sea, spends his magic weapon - the heavenly crystal blue "stone" -tricity (Morsa Huha Erdani),in order to resolve Belubo Wild Pig and carried a box with Mangadhi's soul to shore. Then destroys twelve frozen quails from the cold when they fly to his palm to the sun beam. At this moment, Mangadhai, who already gathered was to get a bottle (LONKH)with twelve quail (shower Ulandi Maran), falls from heaven and breaks away.

In the Ungin epic tradition, such plots on the topic of searches and destroying the soul of the enemy acquire a fabulous, entertainment.

In the later stages of epic creativity, representatives of the hostile world are depicted by more powerful than their archaic predecessors are endowed with supernatural strength and invulnerability. The hero cannot overcome them in martial arts, nor the power of weapons. In the Unginskaya Haseriad, it has a hundred thousand eyes on the back, forty thousand eyes on the chest, the star and white eye on the Makushka - the monster Gal Dulma Khan (letters: Khan Fire and the Fire Heat), who fossil all living on Earth, bringing drought and mor; Devil Sharem Minat Alban Schulma (letters: Devil with a cast-iron whip), living on the other side of death; Lobsogy black mangyadhai driving on the iron and blue horse. All of them lead their origin from the parts of the body of evil Actai Ulan Tangri - the heads of the left-sided (eastern) celestially opposing the right-sided (Western) good deities. GESER destroys enemies with the help of his patrons - Western celestial deities: Gal Dulma Khan he striking in a vulnerable place - the pupil of a star-white eye on the Makushka, where his soul was kept, and his unborn (uterine) son - an invulnerable railtle infant - melted by heavenly blacksmiths in iron barn; The invincible devil Sharham Minat, personiform, obviously, the death itself, dishes on the pieces of the magic wool twist of the Supreme Caurizers of Manzan Gourmet Grandma; And the Immortal, who does not have a soul, Lobsogy Black Mangadhai sharpening in a deep dungeon with worshi, who does not give him to come from there.

In the epic mangadhai, like the worst enemies of people, are always destroyed, their bodies are burned, and the ashes dispel. In their origins, these images belong to the most ancient layer of epic mythology. According to A.I. Ulanna, amorphous, indefinite images of multi-headed, multi-forming, multi-eyed monsters, combining signs and person, and predatory animals, and birds, and spontaneous destructive forces of nature, arose at the stage of fetishism and continued their formation on the developed stage of animism (Ulannov.1963. P. 162, 168-169).

Etymology of the term mangyadhaihaving in different phonetic versions (Mangus, Mangad, Mangaa, Jalle Mouse, Moos)the widespread distribution in the epic of the Turkic-Mongolian peoples, like the genesis of this folklore-mythological image, in science still remains unclear. Perhaps the opinion of GD. Santohev, who considered that under the images of these monsters in the Buryat epic caricaturely depicted people of someone else's tribe (Santohev.1936. P. 29), not devoid of grounds, since the tradition of identifying the word "mangad" representatives of other tribes and peoples existed, in particular, in Western Buryat and Kalmykov. It is possible that in the late historical periods, depending on the circumstances, this ethnonym could be used in a negative plan, demonewo-rous the image of a stupid enemy.

A rather large group in the heroic-epic works of Unginsev is represented by Ungera, the plot base of which is built on the antagonism of members of the patriarchal family and the kind: the struggle of older sisters with brothers, senior brothers with younger, uncle with nephews, parents with her son, Snow with sisons, senior haha \u200b\u200btown Low According to the status of the head of the poor, "Haydar and Buydar", "Han Sagsei Mareng", "Ere Habtas Mareng", "Amagan Bogo Khan", "Bogdoni Hubshe Maran", "Five-year-old Tarya Mareng", etc.). Compared to other thematic groups, the ideology of the Military Democracy era was reflected in them, the transition to a new type of economic development, the strengthening of the power of men in the family and the kind, the emergence of property, social inequality in ancient society. The deadly struggle, insidiousness and betrayal of blood relatives are motivated in these ugly the desire of the seizure of property: livestock, herds, subjects, and not the release of sisters married as in the archaic tradition. The winner always comes out the hero-man (the younger brother; nephew), cruelly punishing traitors-relatives.

The transformation in this group of Udigers is popular in Echimite-Bujaitsky epic, the image of a hero of the Bogatyr Virgin, the younger sister of the hero, traditionally speaking in the role of his Savior (the plot type "sister produces a brother of a narrow-awkward"). At the new stage of the development of the epic, with the heroization of the image of a man's hero, she loses this feature that goes to the hero's horse. A new fabulous story about the defenseless, with the heroic of the hero, who has lost the heroic features of the heroic of the heroic of the heroic of the heroic features of the heroic of the heroic feature of the heroic features of the Bogatiry Virgin appears on the topic of the struggle of blood relatives.

Uligers, telling about the relationships and conflicts of family members and kinds differ not only by rethinking, by changing the interpretation of archaic motives, but also enriching new plots, episodes and images; Deploy, complexity of the narrative structure.

Unlike them, they are small in terms of volume are ugadhey's urgadhyaes, who arrived in them with matrimonial goals: "Malan Alag Bulagar" (518 poems), "Maorla Erag Durg" (252 verse), whose narrative is characterized by humorous color, and Also Uliy "Seven Eminist Savras Kobylitsa" (SUUTIN Doloon Huhlagshan)(1233 verse), telling about the death of herd from the alien heroic of the invader and her leader - Savrasi Kobylitsa, the price of his own life of his saving foal.

Unginskaya Ungers represent a higher stage of the development of the Buryat epic with the concealed trend on liberation from mythological views. But there are still many elements of hunting epos, animistic performances. Heroes traditionally are endowed with wonderful abilities (toned, magic).

The formation of a UNGINA epic tradition was due to socio-economic processes occurring in the decomposition of a generic society. The epic tradition of Unginsev shows that the interests of the material order, seizing someone else's good, are in many ways the root cause of contradictions that arose in society.

The further development of the heroic-epic legends of Buryat demonstrates Horinskaya Uligers, Creators, Guardians and performers who were mainly representatives of the most numerous Hori tribe, who lived in the steppe and semi-axes: according to the valleys of the Rivers of the Uda, Kurba, Calc, Chico, Onon, Right Bank Selenga; In the steppes of Kage, tugging and Agi - favorable for breeding cattle, horses, camels, sheep and goats. Together with Horins, Selenga in the XVII centuries lived with Horins. Mongolian childbirth of Atagans, Tsongolov, Sartulov, Uzons, Khataginov, TabAgutov, as well as small groups of buclands and echyritis (in the Oriolro, Oronga, Tugna, Mukhorebiri, Energone), undoubtedly, who brought their archaic epic traditions (sets of plots, images, motifs).

According to historical sources, the main occupation of Transbaikalki Buryat in the XVII-XVIII centuries. There was nomadic cattle breeding with the absence of a barking. Hunting also did not play a big role in the farm (Sanzhiev, Santaeva.1999. P. 42). The allocation of cattle breeding into a special industry as a specific independent production, inevitably pushed the growth of new social relations, the strengthening of property inequality, the appearance of the infarded tribal aristocracy. The ancient ties contributed to this process, the proximity of Hori-Buryat with Hulkhoy, the presence of the features of the later feudal-Mongolian culture in their life. As writes A.I. Ulanov, "Hori XVII century is meant by many signs of class society: the property difference, the power of the leaders, the beginning of the penetration of Buddhism, etc." (Ulan. 1974.P. 69).

The originality of the natural and economic, historical, social conditions of life and the life of Horintsev was bright reflected in their epic, determining the typology of its artistic body, which gave the basis for allocating into a separate stage formation.

The first records and publications of the epic works of Hori-Buryat, started at the end of the XIX century. G.N. Potanin (retelling in Russian Ulgera "Balod Khurai"), were continued by A.D. Rudnev (prosaic texts of Ustilov "Lodoy Maran", "Maryganger Marygan", "About Starik Zhibzhen" with translation into Russian) (Rudnev.1913-1914), c.zh. Zhamezrano, B. Baradin (Uzchagta Maran, "Jashagta Mareng", "Nayantay Marygan"); In 1929 - GD. Santohevy \u200b\u200bin the Mountain Oce ("Bogo Hubshe Mareng", "Ere Sogto Mareng"), in 1934 - N.N. Poppu ("Bator Shono Galdan", "Ulan Nudan Buydan").

The collection of C. Zhamezarano collection, consisting of nine streets recorded in 1908, in Hara-Shibiri, from the 63-year-old teacher of Bazaar Galdonov, Corolok of the Epic Tradition Hori-Buryat ("Manelte Mainean", "Header Marangian "," Saazuunai Khubun "," Dololin Luuga Basagan "(Girl Dololin Luga)," Namuunai Khubun "," Zhibzhalthe Mairgen "," Tumer Bored "," Shulun Bored "," Khan Hashagta Maran ").

A significant number of uglyers was recorded in the 30s-50th years of the XX century. A.N. Stepanov: "Twelve-year-old Altan Ganzudai" (917 poems); "Fifteen-year-old Abaday Mareng" (580 poems); "Unchezy Jagar Bogo Khan" (832 verse); "UNHELSEG BATAER" prO.-poetic text; "Bogdo Bugter Khan" (600 poems); "Bator Shono Galdan" (1500 poems); "Muu Khubun" (716 poems) and others; YES. Alekseev: "Loda Maranghan", "Hurbor Megrian, driving on the horse's brown"; S.P. Baldaev, N.O. Sharakshinova, PB Baldanjapov, G.O. Tudenov, Ts.-A. Dugarnaya et al. In Selenginsky, Bichur, Kizhainsky, Horinsky, Eravnish, Mukhorsibirsk Aimaki Buryatia and the Aginsky Buryat Autonomous District of the Chita region.

These records show that the epic tradition of Transbaikalki Buryat was alive almost until the end of the XX century, despite the beginning, obviously, from the middle of the XIX century, the process of its fading.

Compared to West Buryatski, Horinskaya Uligers have mainly mixed proclaim-poetic shape, and therefore differed in deep identity and their execution. For the note of C. Zhamezrano, the narrative part of them was told by the Speaker "Recitative", and the monologues and the dialoants of the characters were sang. "At the same time, those present, the greater part of the part is already singing, sing a chorus after each line the corresponding chorus -" Tour Long, E "(from the word mYPIXY. - pushing). Every speaking face in Ulgere: Hero, Mangathai, Horse, Beast, Arrow - have their own motive and their chorus characterizing the speaker " (Zhamzrano.1918. P. 25-26). These choruses were sometimes accompanied by the game on string instruments. (Hur.or yataga).

The living participation of listeners in the performance of U Hori-Buryat was expressed, thus, in the vocal second, after a bustle or quadrupp (chorus-formula), which did not have a coherent semantic content, but the employees, obviously, were obvious The phonosemantic characteristics of a specific image of an epic character, on behalf of which he was performed. So, the chorrows formulas of the Bogatyr horse: "Troage, Trojan!" or "Turkey-EE TURYANSA, TURDYAHYA-EE TURYANSA!", Undoubtedly, are sound-resistant variations of the word turkey- Fuck, A. tUREALGEdogs: "Gangiaanur, Gangiaanur, Gangya Gangiaanur!" Comes from the word gangianah- whine.

The feature of the Horinsky epic is also vocal monologues of the heroes in which they express their feelings and experiences experienced by them in critical moments.

Along with the pro-poetic poetic, Horinskaya Ulygers have a poetic shape, performed both in a broken-in-room, and a declamination, spectative manner. (Ulannov.1974. P. 73). They are small in volume (from 500 to 2000 poems) and more similar to a short retelling, since in the process of extracting the street tradition, many traditional features of the style, compositions, artistic expressiveness have lost (reducing epic formulas-clichés, etc.).

The plots of Horinskaya Urgers are diverse and thematically disintegrate into groups: the first - about the heroic matchmaker and the marriage of the heroes ("Balo Khurai", "Maiden Dololin Luuga", "Boronouu Mainean on a gray-motley horse", "Nougalte Nyusagan Gurguli", "Header Mareng" ); The second is about marrying and struggle with the heroes with mangyadhyaes and foreign khana-invaders ("Unchenkh Zagaro Khan", "Khan Khashagta Maran", "Unhelsag Batar", "Bogo Hubshe Maran"); Third - On intra-family and generic relationships and conflicts ("Manelte Mainegen", "Loda Maran", "Erwei Ezeng Bogo Khan", "Bator Shono Galdan", "Sugaday Maran and sister SESEN", "15-year-old Abaday Mareng", "12-year-old Altan Ganzudai).

The main motives of the Horinsky epic, belonging to its ancient layers (the fight against mangyadhi, heroic walling, magic, tutorial, death and resurrection of heroes, the destruction of the enemy's soul, etc.), are common with West Buryat Ulighers, which indicates the formation of them on the soil One epic tradition.

Subjects on the topic of intrameable, generic relations and conflicts (betrayal of his wife, uncle and nephews, senior and younger antagonism, the mutual attachment of the brother and the younger sister are found to be discovered on the Echimite-Bujala and Unginskaya Ugivens; the mutual attachment of his brother and younger sister; the exploits of the virgin and killing killing the parents of the Son).

But at the same time, Horinskaya Udregra have their own characteristic typological signs that are manifested in another interpretation of archaic motives, plots and images in accordance with the ideology, life of the cattle breeders of the era of the decomposition of the generic society and the origin of the elements of the new building.

The epic hero of Horintsev is depicted, as a rule, rich in cattle breeder, owner of unbarrous herds, countless tabunov. Often, five types of pets are described in Uzigrekh, traditionally bought by Buryats (Taba Hushuu is small):cows, horses, camels, sheep and goats. The ancient motive of hunting moves into the background and interpreted not as a means of food, but as fun, entertainment Hero. As C. Zhamezrano writes, Choriit's beasts have a clocks "It is arranged for the review of other people's countries, establishing relations with other heroes", serves as a way to "conclude unions or the beginning of war" (Zhamzrano.1918. C. XXX).

In Horinsky epic, an articular and interdimal struggle, which leads the khana (leaders of childbirth and tribes), finds an artistic mapping (leaders of childbirth and tribes): "Han Hashagta Maran", "Namuunai Khan". Opponents, enemies of the hero, along with mangaadhyami, are represented mainly, foreign khans that are characterized as "evil people" (Well Sadheelten).They attack the holdings of the hero, causing cattle and herds, capture the lands (pastures), and the subjects and households are drawn in undermineum shepherds and slaves (BRAVA).

The epic bogatyr makes hiking for the protection, liberation of their possessions from enemy raids, the prey of the narrowed, the return of the stolen (property, wives, parents) or the conquest of other birth and tribes (countries), the search for the best lands and pastures. He drives the desire to find glory, aligning his name. In some ugly, the hero is tutulous himself great, rich Khan (EHE Bayan Han).

The motive of the struggle of blood relatives (uncle and nephews, senior brothers with younger) is the desire for power (mastering the father's "throne").

In the epic of Horintsev, the social bundle of society was more clearly traced to know and ordinary Rodovich (shepherds, servants), which, according to C. Zhamezrano, are "submissive danutrics of their lord."

Compared to Echimit-Bujdatski, Horine Epos is less archaic. There are few characters of zoomorphic mythology, there is no motive of twottency with animals, and traditional images of mangyadhaev-monsters are deactualized, lose fantastic features and are depicted or "comical, stupid spaces, with which the hero is developing without much difficulty," or endowed with quite realistic features of Chanov-invaders : Have weapons, army and make robbing raids, ruining the property of heroes.

In the streets with matrimonial themes, fabulous motifs and plots play a big role: marriage, often low according to the status of the hero, thanks to the help of the magic donor, on the guises of the Werettes, which are visiting birds, animals, animals (swan, foxes, roebles, quail, lark) . The image of the Heavenly Virgin Swan is extremely popular - a narrowed hero, ascending to the totem cult of this bird, with which Hori Buryats connect their origin.

For late layers include the motives of social inequality, as well as images and terms belonging to the Buddhist religion: lama(Buddhist monk), danhasha(Lama-contemplate), shudhar(Damn, Devil), akhimjo(The attribute of the monastic robe is a wide strip of red matter, throwing over his shoulder), hadag.(long, silk canvas, presented as a welcome gift to guests to guests), abarahal Zuntag(prayer-fortune telling) zurhai(astrology).

The development of cattle breeding, which played a huge role in the history of the people, was widely reflected in Horinskaya, (as well as Unginskaya), epic traditions in the form of new genre entities - ledids about animals. So the main heroine of Horinskaya Uliger "South Sagan Hulagshan" (Eminate Belaya Kobylitsan) and the Unginsky "South Doloon Hulagshan" (seven eminent savras kobylitsa) is a horse, the price of life saving his foal from a cruel Khansky hero, who destroyed all their herds. The legends sounds anthem with the life-affirming power of maternal love. And in the widespread Khori-Buryat Unshig San Sagan Botogon (White Camel Sadot), narrates about bitter wandering and longing separation, in the wild of rich, with a young mother.

Unlike the archaic tradition, no monsters in these works are not monsters in these works, and people are representatives of the social advantage of society.

Cattle's motifs found in the street tradition of Horins a wider reflection than in the previous ones, but the image of the Bogatyr horse is traditional and lovers in all heroic-epic legends Buryat. This is a faithful friend, a universal wonderful assistant and a wise adviser who has a turning mind and human speech. In the image it is combined both realistic and fabulous fantastic elements. In the Unginsky epic, the horses of his life saves the heroes from death, extracts the dead owner a narrow-awkwardness, possesses the magical ability to reincarnation, and in some cases - revives his friend. The Hero of the Unginskaya Uligover receives a heroist status only after taming, engaging in the heavenly horse sent by Divine patrons.

The image of a wonderful horse, based on ancient chapecological beliefs and a cult, acts in the heroic epic, Buryats the sacred patron saint of the genus and expresses the power and power of the sling hero.

In general, the Horinskaya Uligers show the further evolution of the epic creativity of Buryat at the new stage of the development of society and the consciousness of people; The process of overcoming mythological worldview. According to scientists' observations, Khorinskiy obstellers, unlike Echimite-Bujala and Unginsky, belonged to the urgers already as "to art, fiction, beautiful fiction" (Ulannov.1974. P. 74).

The adoption by Hori Buryats Buddhism, the spread of Staromongol writing, the religious literature of Tibet and China, the canons and dogmas of the Buddhist Church, were, according to scientists, the impetus to the gradual fuss of the epic creativity, "rectares of ultrasters in fairy tales" (Ulannov.1957. P. 167), although the people continued to preserve the love of Epos and the tradition of his transfer.

A special place in the heroic-epic work of Buryat belongs to the testes about the mighty Bogatira Abay Geesre - the Heavenly Son, sent to the Earth to protect ordinary people from suffering and death. Epos about this Hero, which gave the people from time immemorial, is widely known in all corners of ethnic Buryatia, enjoys universal love and is considered to be a pearl of Uglyanny Creativity Buryat. Compared to other urgers, the legends about the geaser are distinguished by a large volume (from 7 to 20 and more than thousands of poems), the monumentality of the storyline and the perfection of the artistic form.

In addition to Buryatia, Gaseriad is known in Mongolia, Kalmykia, among the Turkic peoples of Southern Siberia, in Tibet (Kham, Amdo, Ladakh), in the inner Mongolia, Nepal, as well as in Pakistan, India and Sikkim. Among the many national versions reflecting the original features of each people, the Buryat samples of this unique monument are considered the most archaic and represent the extensive epic arc, which tells about the life and exploits of the hero, and his sons, on which a special mission of struggle is entrusted with a biographical and genealogical cyclization. evil on earth and establishing the peaceful and happy life of people.

Unlike the Tibetan and Mongol versions that have had a written tradition, Buryat Gaseriad was transmitted for many centuries in oral form, which led to the emergence of various local traditions of its performance and an abundance of various options. The book shape of the Gasoriad, close to Mongolian, was mainly mainly in Transbaikali at Hori-Buryat, where Staromongol writing, Buddhism were common and was a strong influence of the feudal culture of Mongolia.

The first steps in fixing the Buryat Gaseriad were undertaken by G.N. Potanin, published in 1883 a pretty schematic retelling of the initial episodes of Uliger, called Gasyr-Khan, recorded by him from Alar Buryata Manzanov, who owned by the Russian language. Then, in 1893, in the book "Tangut-Tibetan color of China and Central Mongolia", along with Tibetan versions, they were placed in a very detailed retelling of the Buryat ethnographer M.N. Hangalov, the consolidated text that housed the poems of the poetic epic "Abai Gasare Bogo Khan" in Priangarya.

M.N. Hangalls, who recorded this epic talented from his father N. Khangalov and Talented Uzigshina P. Tushemilova, provided the text of an extensive introductory article containing valuable information on the existence of "Abay Geser" among the Ungin Buryat, about the legends associated with his name.

At the beginning of the XX century. Work on the collection of heroic-epic legends was continued by C. Zhamezrano. In 1903-1906, on the task of the Russian Academy of Sciences, he made the first scientific records of the streets that have gone in the valley of the river. Kuda, theory, on (now the Ust-Orda Buryat Autonomous Okrug). His collection, consisting of ten full-fledged, highly artistic samples of the archaic epos of Ehirites and Bujdatov, opened the anchored by the amazing wealth of epic creativity Buryat. The Epos "ABIA GESER-Khubun" (10590 poems), recorded from M. Imgeneova, was a special value recorded from M. Imgeneov and constituting with Ushor Bogdo-Khubun and "Churin Altai-Khubun") cyclic epic, volume 22074 verse that does not have analogues in other national versions of the monument. These records were published in the first two issues of the second volume of the "samples of the People's Literature of the Mongolian tribes". The entries and publications of C. Zhamezrano are valuable in that they made a classic texture formation of Buryat epic and actively function in science.

In 1909, the English scientists of Kurtin were published three options for "Geser", recorded in 1900 in the same region. One of these options was the abbreviated statement of "Abai Gaser-Khubun", recorded by the Englishman, obviously from M. Imgeneov, but has a number of plot discrepancies compared to a full record made by C. Zhamezrano in 1906. Texts in the Publication Kurtin were the result Double translation: from Buryat into Russian, performed by V. Mikhailov, then from the Russian language into English and essentially presented prose retells of the plot canvas of Ulgera.

In Soviet times, since the beginning of the 20s, the systematic fees of the folklore material (especially the Uzigover) was engaged in the folkloride S.P. Baldaev (1889-1978), examined almost all the uluses of ethnic Buryatia. A significant number of heroic-epic works, including the EPOS on the GESER, is also recorded by scientists and collectors: A.K. Bogdanov, K.A. Hadhane, K.V. Baginov, A.I. Shadaev, GD Santohevy, I.N. Madason, D.D. Hiltukhin, R.F. Tugutov, D.A. Alekseev, M.P. Homonov, N.O. Sharakshinova, A. Balburov, TM Boldonovoy, who worked with the Darovitis Uliegenshin 20-40s and 50s, who still kept the living tradition of the scope of stateless art. To a large extent, thanks to their efforts, the main repertoire of the traditional streets that gave an idea of \u200b\u200bthe overacted epic heritage foundation was identified and recorded.

Currently, a more than one hundred original Ubitov is in Rwvk, among which heroic-epic gaser tales are presented with the greatest completeness. They were recorded in different years in Alar, Nukutsky, Bohansky, Osinsky, the Echimet-Bujalaks of the Irkutsk Region, as well as in Tunka (Buryatia) and Are (Chita region) from Talented People's Squares-Gas Erishens: P. Petrova (1866-1943) , P. TUSUSEMILOVA (1877-1954), P. Dmitriev (1883-1958), B. Zhattuhaeva (1891-1983), Alfora Vasilyeva (1887-1945), A. Toroeva (1893-1982), O. Khaintaeva, M . Gerguseva, O. Helinkenova, N. Ivanova, R.N. Bulatova, D. Zakanova, D. Haludorova "J. Samaeva, etc., each of which had his unique creative personality, its performers and a gift of the poetic word. Being for most of the major folklore connoisseurs, the versators of the universal warehouse, they managed to convey to Our days diversity and wealth of local epic traditions of Buryat Gaseriad.

Bilingual (in the original language with Russian translation) Scientific publication of the texts of the Gaseriad, recorded by C. Zhamezrano and I. Madason, were carried out at the beginning of the 60s A.I. Ulanov and M.P. Homonov. In 1969 N.O. Sharakshinova published his translation into Russian text "Abay Gaser-Khubun" (Sharakshinova.1969. P. 145-314). In 1995, a new bilingual edition of the Echimization-Bujoucian version in the scientific translated by A. B. was carried out in the Epos Epos series. Soktoeva (Abay Gaser Mighty ... 1995). In addition, different options for "Géer" were published on Buryat (Tushemilov."GESER". 19 A \\; Dmitriev."GESER". 1953; "Abai Gasare Bogo Khan." 1995). All varieties of variants of the Buryat Gasoriada researchers are divided by their stadial and typological signs into two groups: Unginsky, close to the plot to the Mongolian Book Gasoriad, and significantly more archaic, Echimit-Bujalats (Ulannov.1957. P. 104-105, 128, 138; Sharakshinova.1969. P. 40; Abai Gaser. 1960. P. 4).

The basis of the plot of these heroic-epic works is the narration about sending heavenly deities to the land of Gesera, his second birth on Earth, marriage and exploits in the name of the happiness and peaceful life of people.

The most famous version of the Echirit-Buja Gaser-Khubun Epos, recorded in 1906, recorded in 1906. Zhamezarano, from an outstanding teacher from the Ulus, the former Kudinsky department of the Irkutsk province, the Peasant Poor from the family of Ashabagat Manshud Inegenova (1849- 1908) who managed to reproduce this monumental epic trilogy about the hero and his sons in the performing traditions of Echimit-Bujdatov, retaining and the identity of the plot, and the picturesque wealth of the artistic language, the images, not in the usual setting in the circle of monitoring listeners, and for the arrival of the scientist recorded Every his word.

This version, according to A.I. Ulanova, is "quite independent, distinctive, not having a similarity with the Mongolian" Geseriada ", nor with Tibetan or Kalmyk legends about the Gasare, except the name of the main character." About the archaic of "Abay Geser-Khubuna", well preserved the mythological basis, testifies both its content itself, the interpretation of the images of the main characters and the main idea of \u200b\u200bthe work: "The struggle with the monsters personifying evil forces of nature and overcoming obstacles" (Ulannov.1957. P. 116).

Events in the epic, as in other versions of the Buryat Gaseriad begin in the sky, in which, in the ancient ideas, Buryat, dwells inhabitants-Tangri: those born in the Western (right) side - 55 kind, light deities led by Hanhan Hömmos and born on Eastern (left) side - 44 Dark, evil, led by Ataa Ulan, and in the middle between them - Segan Sabdag Tangri. Senior, Supreme Deities, who are subject to all the celestialists, are: Father Esege Malan-Babai, Grandma Malzan Gurman-Tɵɵдiy is the oldest goddess, the mother of all Tangri. Good deities, frequently guarding Geser, providing him with help in difficult moments, are "Thousand Light Heavenly Burkhanov" (Oztorgoyn Mingan Sagan Burkhan),as well as the Creator Bright Alder Zarrig (Zarlaig Sagan Ubagan).

The stronger of further events in the epic is the dispute of Hanhan Hörmos and Ataa Ulan. Each of them wants to master the median Sagen SEBDEG Tangri, who lives a mansion and personifies the border, the frontier between the two opposition camps (light and darkness). This is evidenced by the etymology of his name - "solid (unshakable; persistent) borders, border border.

Conscriptors agree to fight: who will win, he will post Segan Sabdag. But Hanhan Hirmos forgets about the battle's term. And then the three-year-old son Hanhan Hörmos - Lategories of Abay Gaser-Khubun, a strike of a father's spear dumps Ataa Ulan to Earth - Lower zamba(concept O. zamba- Earth, as a place of habitat of people, is associated with the cosmogonic ideas of the ancient Buryat, through which the universe consisted of the upper (heavenly), lower (earthly) and underground worlds).

The body of the defeated Ataa Ulan spreads the stench and SMRArad; Turns into monsters-Mangadhaev, who swallow-devour the earthly people and all living on Earth. For their salvation, cleansing the Earth from the monsters, restoration of peace, well-being and order, bright celestial deities are sent to the land of Gasare. From now on, the whole life of the hero is dedicated to this noble mission, which is the main idea of \u200b\u200bthe Buryat Gaseriad.

Gaser descends to Earth in the appearance of a black crow. In the sky, his bodily hyposta remains. The heavenly patrons first harde it, strengthen the soul, making it invulnerable, give the hero with wonderful abilities, give him three sisteners to him, because there are harsh tests and heavy struggle on Earth.

On Earth, the hero is re-born in the poverty of a 60-year-old old woman and a 70-year-old old man, the industrial fishing of small animals.

The main plot links of the M. Imgeneov option are: 1) the heavenly prologue (the opposition of Western and Oriental Consciousness); LOVE GESER ATAA ULAN-TEGRIRY; 2) descent to Earth and the second birth; 3) Children's feats of GESER: the destruction of the demonstrators in the guys of healthy guys; Neutroxing of iron-jelly crows with iron claws, giant mosquitoes with bone trunns, gathered to push the hero of the baby's eyes, and suck blood; 4) walling and marriage of the hero on the Khan's daughter, the girl San Khan Hochon; 5) The betrayal of the Bogatyr of Agsagalda, responding to the intrigues of the 108-head biting of Yellow Mangadha. The victory of Hear over Mangadham and the execution of the traitor; 6) The struggle and victory of the Geser (with the help of the heavenly brother of Dashin Shochor) above the mighty, unrefelling sorceress Galkhan Nurman Khan (letters: "Khan Fire Lava"). The destruction of an unborn son of the enemy - a railnotty baby; 7) The birth of the son of Oshor Bogdo; 8) the struggle and victory of GESER over the 13-head Asuray Yellow Mangadham; 9) Hayer's campaign on the sky and marriage to the daughter of Tangri, the girl Gaguri Nogin; 10) Return with his wife to Earth; 11) Treason Gagurai Nogin and her care for Mangadha. Transformation of the GESER in the horse; 12) Salvation of Hear His first wife Sanhan Hochon; 13) The struggle of the GESER with multi-headed and multi-eloctural monsters-mangadhai and long-grade red baba mangaadheki; 14) the fight with mad wolves, with multi-headed Danyal and Asuray mangadhai; 15) the destruction of the mighty mangaadhesky old woman sorcerer; 16) imprisonment in the deep underground-hell (Hurghen Tama)Danyal and Asuray mangadhaev; 17) execution of the Gaguraus Nogin and Mangadhya Obedience; 18) Return to the Motherland.

At the end of the narrative, GESER says that he destroyed all enemies on earth. And after the marriage of the eldest son, Oshor Bogdo, ascended to the sky, where Divine-Tangri reappear him in a three-year-old baby.

In the version M. Imgeneov, the early period of development of the Buryat Society was captured; It is clearly reflected by the reliced \u200b\u200belements of the matriarchal and patriarchal ideologies. Malzan Gurman-grandmother has the highest authority, a continuing authority; The souls of Monsters-Mangadhaev are stored at the old woman (grandmothers and aunts) on the maternal line; The oldest woman in the family is engaged in the custody of the newborn baby.

A hunting lifestyle is depicted in Uz Higre: GESER is engaged in hunting; His earthly parents are engaged in catching animals and collecting herbs.

The main enemies of the Gesear are numerous mangyadhai monsters, evil old mangyadheki, Gal Nurma Khan, having rudimentable features of the beggar; Giant railway crows, mosquitoes, mad wolves and other enemy people creatures. Hero struggle with monsters occurs as a random collision in the way or on the hunt. Gaser, defeating Mangadhaev in martial arts, execute, having grated them in the trunks of the trees. There are no social motives of struggle in the epic.

Mangyadkhaev weapons serve a double or ax. They drive on the embarrassing klyami with a rugged saddle. Mangadheki use their scrapers-leather cream in the fight against the gester.

The hero does not distinguish itself from the generic group, it is merged with the family, which is emphasized by the addition of the word to his name huboon(Son of the genus, tribe, guy), having an additional evaluation meaning: "Mighty", "Nice", which is generally characteristic of archaic epics.

Gaser struggles with the enemies not for the sake of personal interest, but for the sake of happiness of the members of the family team. The genus is opposed to the world around the world, which is presented in the form of evil and good creatures. Evil creatures are subject to destruction and hero all energy directs against evil monsters.

To the ancient form of execution of epic works (when the students took part active in it) belong to "Abai GESER-Khubun" such composite elements as ugtanga(letters: Meeting) - a call song, in which the desire to listen to Uliver was expressed; udsest(letters: wires) -proof song addressed to the heroes of epos and listeners and sag Daralga(letters: bias; bundles), executed by listeners before the beginning of the story about the next campaign or at the end of the next episode, when the teacher did a breather. Such ligament songs in the version M. Imgeneov - thirteen. They contain the glorification of the hero, his horse, the wish of good luck in the campaign, etc.

The narration in the "Abay Gaser-Khubun" is not limited to the hero's hero's wardered. It also reflects the paintings of peaceful life, household scenes, recreation of lifestyle, customs related to later.

Traditional for archaic epics in this monument are the motives of difficult instructions of the future test, the father of the bride: sending behind the pen of the Giant Bird Han Hardeg and the plot of salvation by the hero of the poultry daughters from a poisonous yellow snake; the motives for finding and destroying the soul of the enemy; The motives of appeal to the belongings of the Book of Fate-Zalyan, etc.

Define identity, uniqueness, differs from M. Imgeneov Supply development of the path of the path (ascent of the Gesera on the sky), where his narrowed Gaguraus Nogin lives, meeting with his Creator - a bright old senior Zarlaig; The test of the power of the GESER and hardening by his heavenly blacksmiths in the horn.

Other stage of development represents the Unginic variants of the Gaseriad, the characteristic features of which are reflected in the Epos "Abai GESER" (12537 poems), recorded by I.N. Madason in 1940-1941 From a talented teacher from Ulus Hadakhan Irkutsk region, Pöhon Petrova.

The descent of Hear on Earth in it is also preceded by the dispute and the battle of two opposition camps of celestials (Western and Eastern) for mastering the Middle Cegen SEBDEG Tangri. But in contrast to the Imegen version, P. Petrova in the Heavenly Prologue appears the plot of the disease Naran Gokhon Abkhai (Solar Beauty) - Daughters Naran Dulan Tangri (Tangri Sun Heat), the head of the Chief Eastern (left-sided) celestialists, Atay Ulan Tangri. In the event of her death, 55 Western good celersies must go into submission of 44 eastern, evil.

A big role, as in the archaic version, is played by the ancestor of Western deities Manzan Gourmet Grandmother. Thanks to its advice, the son of the head of Western Celebrates is Baligte Hubun (Future Geeser), miners a wonderful white lark, healing the maiden.

In general, the description of the heavenly life in Petrova differs from a laconic Imgeneovsky, exploration, plotting fullness; Abundance of the images of deities, Tangri, their hierarchies and functions. This feature is characterized by the whole style of Ulgera. If the Echimite-Bujala version wins the evil Ataa, the baby Gaser, then in Unginsky, the alternate battle of all celersists is described: the sons of Khan Hirmos and Atay Ulan; Then, Tangrias, personifying atmospheric, weather phenomena (summer, winter fogs, ynei, wind, etc.). The elders themselves are struggling and their horses. Khan Hiros wins Atay Ulana with the help of the son of Buchu Baligte, who pours the big finger of the opponent's right foot, where his soul was stored.

In "Abay Gasare" describes in detail the appearance of monsters on Earth: evil Sharacken Khans; Mighty, multi-eyed monster Gal Dulma Khan (Khan Fire and Heat), the owner of the forests - the absorber of an orgoly-white deer; Devil Sharem Minata (the devil with a cast-iron whip), who lives on the other side of the Earth of Death; Abarga Sensman Mangadhaya, inhabiting in the deserted land Honin Hoto; Black Mangadhay Lobsogoldy and the three of his sisters of Yonghoboe, arising from the severed parts of the body Atay Ulan and the three of his sons.

The first part of the Unginskaya Gasoriada (Heavenly Prolog) is essentially a series of myths clothed in the form of an epic legend, where they received a peculiar personification of the power of good and evil, light and darkness. Your eternal struggle is expressed in the war of celestial, the separation of which is two opposite camps, based on the oldest universal binary opposition (Buriful.1997. P. 113-116).

A generalization is generalized in Unginskaya Haseriad, the systematization of myths designed to explain in the framework of mythological worldview appearance of evil and monsters.

Monsters begin to destroy all living on Earth. Begins drought and mor. People die, cattle dies. Conscriptors learn about it from the Shaman, who committed an offer to the head of the Western (right-hand) good celers in Khan Hirmosau, consisting of tears and sputum of sick people.

The Heavenly Council sends to get rid of the evil, the revival of life on Earth of the Middle Son Khan Hirmosa - Buchu Baligte, who is born there again at the childless couple of exiles: Khan Sangalena and Naran Gokhon - daughter Naran Dulan Tangria.

The struggle of the heter with monsters - attendant Atay Ulan Tangri - constitutes the content of Petrovsky. The Hero's Mission on Earth is expressed in the sewer of Uligigra: "He was punished by the invaders, he was hung out arrogant, he was dumbfounded, he destinically destroyed - the great Abai Geaser, the mighty Abai Gaser. Height of him - eighty elbow, his life is eight generations."

This option consists of the following main chapters: 1) Heavenly Prologue. The struggle of Western and Oriental Conscripts. Loading Atay Ulan and his sons to Earth. The appearance of monsters there; 2) mor, drought on Earth, the death of all living things; 3) sending Baligte Bukhte, the middle son of the head of Western celestial in the land for the salvation of people; 4) Wonderful conception and the second birth of the hero. Children's feats of a hanging hero; 5) Watching and marriage to Tumen Yargalan. The second marriage to the URMAY Hochon; 6) The hero acquires its true Bogatyr appearance, becomes Abay Geeser Bogo Khan. Marriage on the hero of Alma Maran, daughters of the Lord of the Seas Lobson; 7) Hayer's campaign on the owner of forests orgoly-deer (swallow). Victory over the monster; 8) victory over the huge snake Abarga; 9) the betrayal of Uncle Geser, the Black Hara Soton-Neo-on, who has mastered his illness; 10) Tumen Yargalan, for the sake of rescue Geser, goes to Abarga Sasan Mangadhai; 11) Trekking and the victory of Geser over Abarga Sasan Mangadham; 12) Wife gives the hero of dumb food and Gaser forgets about the house; 13) Sharablin Khans capture URMAY Hochon; 14) Three celestial sisters - Savior (cuckoo) return to Géer Memory; 15) Hayer's campaign on Sharacken Chanov. Transformation into an infant-podkin and adoption by his khana. Victory and liberation of Urmai Hochon; 16) campaign and victory over Gal Dulma Khan; 17) Lobsogy Black Mangadhai, turning the lama, turns the heser in the donkey; 18) Alma Maran Khatan frees the Geser; 19) the victory of Géer over the lobsogo-it, imprisoned him into the pit-dungeon; 20) The Battle of Geser with the devil Sharem Minat and the victory with the help of a wonderful wool twist; 21) GESER frees the subjects of Chinese Humen Sasan Khan from death.

The option P. Petrova also has additional episodes: "Sagan-Bator" (White Bogatyr), "Four Followas World", "Lonely Tree", missing in other versions of the Gaseriad.

The similarity with the Mongolian Heariada have those chapters and episodes, where the birth of Geser, his children's exploits, testing Sargal Neuon's sons, War with Sharablands, about Chinese Humen Sasan Khan.

But the poetic Gaseriad of Buryat, compared with Prosaic Mongolian, is deeply distinct, as it reveals the ethical and aesthetic views of the people by means of a generated system of Buryat epic creativity. Many motives and episodes from other Uligover entered the plot of Unginskaya Gasoriada. They are much more details, details, episodes and plots than from the Mongols, since the growth of the story tissue tissue is characteristic of the epic tradition. Descriptions of the struggle, fights with monsters, contests of grooms, epic formulas, seals, sEG DAARLGA, UDESHELGEin "Abay Geser" are characteristic of all the heroic epic, Buryat.

The image of Gesera embodies the traditional features of the heroes of Buryat epic tales. It is embodied by the people's ideal of the hero, a fighter for the happiness of people, so he is one of the most beloved heroes of the Buryat epic. Unlike the archaic tradition, in the Unginskaya Gasoriad, the hero fights in most cases with hostile khans, he has not only warriors-Batamors, but also the army who participates in battles. There are many cattle motifs (shepherds, herds of animals, cows' milking).

The character of the epic "Abai Gaser" determines the idea of \u200b\u200bstruggle for good against any evil; A deep faith is expressed in the victory of good over evil. The idea of \u200b\u200bthe celebration of good is the leading idea in the Buryat Gasareade. UNGINA GESARIDA is a huge epic web, the events of which are developing against the background of the whole universe, covering the sky, land and underwater world. In the epic, there is an increase in motives that embody the theme of the heroic heroic, the fight against the enemies of the rapists and the monsters, whipping people. The Tale of Gasare is the highest development of the Ungin heroic epic, which has entered the entire traditional system of epic creativity Buryat.

Recall that the Cultural Organization of the UN (UNESCO) since 2003 enshrines this status for various cultural sites as part of its masterpiece and intangible cultural heritage program. The list of such status "intangible" culture facilities is compiled by analogy with a long-known list of UNESCO World Heritage Site, which makes focus on material objects. For such as Lake Baikal.

In the list of "Intangible Cultural Heritage", UNESCO Currently, Russia is represented by only two objects. This is the "cultural space and the oral creativity of the School - Old Believers of Transbaikalia" and the Yakut Heroic Epos "Olonkho". If the "GESER" enters the list, then two of the three Russian objects will be represented by Buryatia.

However, this event in the cultural life of the republic and the country gives rise to a number of issues: will this initiative of Russia will find a response to the UN? What is the Buryat heroic epic "GESER"? How much does this epic actually Russian (Buryat), not Mongolian or Chinese (Tibetan)? And what exactly should be recognized as the "intangible cultural heritage of mankind" - some one "main" text from more than ten decisions recorded by scientists quite voluminous (from 2 to 50 thousand poems each) of Buryat Ustigov about Abay Gesere or all the cultural space of Gaseriad? That is, it is both the performing arts of Uliegershinov (singing, acting game, playing musical instruments, etc.), and customs, rites associated with the performance of uglyers, and spiritual and material knowledge about the nature and universe transmitted in the epide from the depths centuries? Or each of the elements of this complex separately?

Answer these questions is quite difficult. First, the heritage of the Gaseriad was not fully studied and, in fact, unknown to a wide reader in Buryatia, nor in Russia or in the world. Secondly, it in itself is so rich and diverse that each of the ten most famous West Buryat Urgers about Gasare can stand in Eliyada, "Vityazh in Tiger Shkure", "David Sasunsky", "Dzhangar" or "Olonkho" . And, thirdly, there are also political disputes around the epic on GESER, which affect problems in relations between Russia and China in the geopolitical sense and no less acute problems associated with loyalty or disloyalty to the central government within Russia, the USSR.

Shot when trying to escape

A little about the history of disputes around the epic "GESER". Now it is difficult to imagine, but some other years ago, the cabinet and museum studies studying folklore and literature Buryat in the degree of danger was akin to the activity of a spyware or an extremist organization. In this area there were many broken lives, scientific and political careers, and in some cases the study of the epic ended in prison, reference, exile and even the physical death of the researcher.

In this sense, the history of the journalist Maxim Shulukshina, who has become the main victim of the political struggle around the epic on GESER. In 1948, Shlukshin was declared the "bourgeois nationalist" and was planted for the "anti-Soviet activity" in Jeidlageran in Zabanskinsk.

Marxist literary man in Buryatia, Mikhail Hamaganov, who performed the role of the main political gendarme from philology in the 1940s-60s, in the first book of the Almanach Baikal (the printed body of the Writers of the Buryat-Mongolian ASSR) gave such a "party characteristic" to other colleagues Literary workshop.

"One of the guns in the Arsenal of Bourgeois Nationalists was the feudal-khan Epos" GESER ", characterized by reactionary, cosmopolitan content," wrote Mikhail Hamagan in 1949. - Bourgeois nationalists, engaged in "Gaser", strictly distributed among themselves the functions, the so-called "scope of activity". Nationalist Slukshin wrote a crop articles by popularizing the cosmopolitan content of "Geser". The latter led to Denamence and Sanzhiyev (Bulyano Sangeiyev, Avd. Editor of the Buryad-Mongolo Union newspaper, 1946 - Secretary of the Buryat-Mongol Regional Committee of the WCP (b), Professor Historic - S.B.), who is obstructed by his ideological perversions Nationalist nature in history. Balburov (African Balburov, writer, in the 60s-1970s ch. Editor of the magazine "Baikal" - S.B.) Openly admired the bloody, robbing campaigns of Genghis Khan, Belgayev (Gombo Belgayev, 1938 - Chairman of the Presidium of the Supreme Council B.-M. ASSR, 1941 - Deputy Chairman of the Council of People's Commissars B.-M. ASSR, 1946 - Director of the Buryat-Mongol Research Institute of Culture and Economics - S.B.) and Zugeev (N.D. Zugeev, Scientific Secretary of Giolya - S.B.) took on themselves mainly organizational issues related to the popularization of "GESER".

At the time when such a shot articles were published in the newly educated journal of Buryat party writers, real shots on "cosmopolitans" and "nationalists" sounded in Jeidlage. In 1949, Maxim Shulukshchin was shot dead by the convoy "when trying to escape."

Why suddenly the Soviet propaganda changed dramatically plus on the minus and the epic hero of Geeser, with whom Buryat Soviet poets, during World War II compared the fighters and commanders of the Red Army, suddenly became the "instrument of the ideology of Panaricanism and American imperialism"?

Panmongolism and "Support for Own Force"

So, at the end of the thirties in Buryat-Mongolia, Panmongolism was announced by the enemy of the number one, suddenly turned out of the "progressive anti-imperialist (antitrite, antiantanthist) flow" in the "bourgeois-nationalist movement in the service of Japanese imperialists". During the same years, the then Buryat political and cultural elite was sulfted systematically - and pre-revolutionary, and party. But with all this, the EPOS "GESER" was completely embedded in the context of socialist ideology.

By the mid-1930s, the doctrine on the formation of the "World Wide Republic of Soviets", based on the theory of the "permanent revolution" of Lion Trotsky, finally lost the place of another "Marxist" (in fact Stalinist) theory "Building socialism in one separate country" with a support on your own strength. Thus, the more private doctrine on education in the territory of the Buryat-Mongol SSR in the USSR (with the accession of the MNR and Inner Mongolia of China) ceased to be dominant in the foreign policy of the Soviet Union in relation to China and Mongolia.

At the same time, the grand Lenin-Stalinist experiment to create new national cultures and identities (including "Buryats", "Buryat-Mongols" as something completely separate from the Mongols) in Buryatia was accompanied by the creation of a modern Buryat literary language, a new writing for Buryat Based on Latin, not vertical Mongolian alphabet. The lexical basis of the new artificially created language was not the Zongolsky dialect, almost identical to Khalhassky, but a more distant Horine dialect from him.

The Buryat heroic heroic Epos "GESER", whose "Brand" had to be rebuilt perfectly in such a concept at the international level as the unique heritage of the new Buryat socialist nation. Fortunately, more pre-revolutionary Buryat scientists Tsybien Zhamezrano and Matvey Hangalls, as well as Soviet folkloristic scientists Sergey Baldaev and Ilya Madson managed to recharge the invaluable cultural material: a large number of different hydrhers about Gasare. Fortunately, they still existed at the end of the 19th - early 20th centuries in the oral tradition of Irkutsk Buryat, free from Buddhist influence. It was these scientists who managed to write down and convey to us the last sigh of the outgoing religious and cultural tradition of the oral transfer of ancient knowledge of the earthly and heavenly (sacral) world.

Recall that all the famous written (on Mongolian writing) East Buryat (Khorinskie) Uligol, and published in Beijing in 1715, the Mongolian version of the epic existed in a strongly abbreviated form, in the separation of genuine records of works about the GESER and were clearly exposed to ideological Buddhist processing. In addition, they, unlike the bulk poetic West Buryat Uligovers, had a small volume and were written in prose.

In the late 1930s, the international "Panmongol and ProNogony Spy Organization", the leaders of which were allegedly the former Mongolian Prime Minister Gendan, the first secretary of the Buryat-Mongolian Obcoma, the First Secretary of the Buryat-Mongolian Obcoma, and Plenipotentiary Representative of the USSR were allegedly MNR, the Commissioner of the Central Committee of the CPSU (b) in Mongolia Ruben Tairov. After that, in Buryat-Mongolia, the construction of a new Buryat culture was continued in the Buryat-Mongolia. The most distinctly farmiongol culture.

Ministry of Education of the Irkutsk Region

MBOU Alar School Secondary School named after P.P. Bator

International Festival - Competition

"Ecological folklore of the peoples of the world"

"Buryat Epos" GESER "- anthem to man, anthem Earth - in the name of salvation of life on it"

Prepared: Maraktaeva Svetlana Nikolaevna -

teacher of the Buryat language and literature

from. Alair

2012

Ethimo ecological aspects in the study of the Buryat epic "GESER".

One of the contradictions of the modern era is all deepening contradiction between society and nature. In this regard, the targeted work of the school on the formation of the initial concepts of environmental culture becomes extremely responsible importance to the growing generation.

In this case, environmental education must submit a holistic system covering all parties to human activity. It should be aimed at the formation of a human worldview, based on its unity with nature and on the direction of its culture and all practical activities not to exploit nature and not even to preserve it in primeval form, but on its development capable of promoting the development of society.

It is necessary to disclose a contradiction between society and nature, to indicate the permission of this conflict.

An invaluable assistance in the process of environmental education can appeal to folklore as an inexhaustible source of the wisdom of the people in its relations with nature. One of the genres of Folklore - Uliere.

The heroic EPOS "GESER" is a unique monument of the spiritual culture of the Buryat people. It is compared with a huge river, which spilled at the entire Central Asia and the Far East.

Uligera allegorically, shaped depicting objects and phenomena of surrounding reality. The charm of ultrasound, fairy tales, myths, legends for children of any age is that they allow you to open the veil of mystery over one or another object or phenomena.

Most of the streets have an ecological orientation, although at first glance is not always noticeable.

"... He was born, they say, in the older times, when the first tree bloomed, when Mighty Isybrich got out, he was born, they say, when the thick tree was still a bush, when the eldest Hanov had lying in the cradle, he was born he was spoken. When the Angara River is wide yet, the abarga - the fish was still a lot of fishes, he was born, they say ... "

Tragic and triumphal fate of the Great Epos. Thanks to the narrowers who had a charming power of folk poetry and transferred it from generation to generation, GESER and today with us.

All the narrative is permeated with an epic meaning of life: the opposition of an ancient team is being opposed to the outside world in the titanic combat with hostile forces and this struggle from the very beginning is entirely on the shoulders of Uzhignaya Margean (Batar). The execution of this purpose is always associated with the departure of the hero of the native land, with its long-time travel and a long stay on someone else's side. An obstacles arise in front of him, one more difficult, the enemy replaces the enemy, giving the achievements of the goal. In the descriptions of all sorts of road tests, the martial arts of the hero with hostile forces, nature paintings, the ancient world gets up and pristized harsh beauty, on the expressions of which the epic events unfold: feats are made, the enemies of the harden are taken, the milk enemies and mythical monsters are destroyed. The epic world of Ulgera is full of bright paints of pipe sounds: the high mountains, in a wide Tamshin steppe, the paths of epic warders and their enemies are cross - mangyadhans. The struggle between them is titanic. Features are involved in the orbit of this mighty confrontation, the tribesmen are involved in the aid of wonderful strengths and celestial deities. The world of higgy images is rich in many-bed: in an epic action, in addition to the main characters, a lot of characters are employed: some of them are the environment of the epic hero, others - the Mangadhaev camp opposing him and other opponents. In this Pöstrom, the Higgy world occupy their place and play an active role of animals. These characters are also divided into groups of friendly and hostile heroes.

In the Alija Marygan Sugrads type, they are reflected in various forms of the figurative embodiment of fetishism, the photophysistic, the animistic representations of the ancients. The personification of nature, zoomorphic and anthropomorphic characters, the image of people in the streets is the stages of gradually mastering the intimate meaning of various things and phenomena. All the factors are living beings, objects and phenomena of nature - endowed with a feeling and mind, operate in real life. Here we are dealing with the transfer of the properties of a person to the creatures around him - an attempt to explain unknown with the help of the famous.

In the Uzigrekh, an image of an animated mountain is appeared, which becomes a challenge of the deceased hero, and keeps his body until a certain time. The image of the "live mountain is present in the archaic plots, where the sister saves his brother, producing him the narrowed - the Sundertian. The basis of this image undoubtedly lies the life experience of the ancient speakers of the epic. Mountain in Ulgerah is shown and as a difficult obstacle on the path of the hero. The experience and cognitive abilities of a person developed in the process of long-term employment, during the development of the surrounding nature, comprehending its laws, the world of things and phenomena. Wonderful stone, a healing tree, live water, according to his concepts, have wonderful properties - with their help, in certain circumstances, you can revive the dead and heal patients. For example, a stone is able to bring good luck, help those who suffer, to give up happiness.

In the sniper, water with its universal properties. It is referred to as living water - "Eternal Black Water" (Mүnhyn Hareh.an), - resurrected dead, patients,strengthening power. Such water beats the key on top of a high mountain, a tree and healing grass grows nearby.

Also, the Epos reflected the reverence by the Buryats of Fire. In the course of the streets it is said about how the hero builds a house, heats the oven, smoke from the pipe rises to heaven. Element of fire is embodied in the image of Gal - Dlme - Khan. Images of forests, rivers, lakes, mountains appear in the streets at the stage of "split" the image, represented by their owners - zoomorphic and anthropomorphic beings.

A large place in the representations of people of the distant past occupied the sky and heavenly phenomena. Ancient man spiritualized sun, moon, stars, snow, rain, thunder, zipper. The sky was thought of a certain senior being, predetermined the course of life and the nature of the events on Earth, simultaneously spiritual and material. Like Gesera, and other heroes of the streets seem to receive heavenly origin. Drawing paintings of life in the sky, Ulyrehenshina recreate earthly orders, consecrated with life, in short, customs of people. The images of the hero's zoomorphic friends, his wonderful assistant appear mainly in narrations about the heroic walling. Friends are ants, turtles, dogs, birds. Twardly - Assistant Heroine in Alamji Margene became a fish, the anthropomorphic twin of which the Dalai Bayan Khan appears. Saved or tamed animals exceed the hero of some qualities, but still play a subordinate role in relation to it. Hero's zoomorphic enemy belongs to the enemies of the animals saved by him: Bear, Wolf, Pösta Bird.

The fusion of nature and humans is expressed in the legends of the owners (Ezhans) of rivers, mountains, forests, rivers, localities. They appear strong and mighty people: Gray Baikal, beauty hangar, mighty Irkut and others. On Earth, the Gaser is secondary born and lives in the solar country of the larks, on all the characteristic signs of resembling the Siberian region. Taiga, where cedars, larch are growing, Archaans are found - healing sources. Where they dwells roe, raisar, marals, moose. Describes hobs and steppes where they graze Otara sheep, herd of cows,herd of horses, the Baikal is mentioned, the Lena River.

In the fight against rivals, GESER does not use warmer armor and weapons sent "from above", but their natural smelting and earthly tools. The power of Geser during battles with mangyadhi was not concluded in its powerful physical abilities, but in an inseparable connection to him from the earth, people living on it. In the most difficult moments, his earth's wife, earthly children and earthly withers come to the rescue of Géer. They save him, washing it out of divine eternal living water from the top of the world mountain, and the water of terrestrial springs, healing sources, fumuring the taped heather (juniper).

Realistically described picturesque paintings of nature, taiga, impregnable cliffs, steppes, stormy rivers, Lake Baikal, Baikal Mountains, covered with coniferous and deciduous trees.

Thus, the Buryat Epos "GESER" is essentially a hymn man, the Gymnast earth - in the name of salvation of life on it.

"... He was born - he climbed the healing, nourishing, with unnecessary lambs. He settled on the ground healing, doctor, with unnecessary goats. He was born the owner of blooming, beautiful land, from the lunar side is blown away. He was born by the dominated green, blooming earth, from the sunny side, washing ... "(from the epic" Alami Maran ").

“GESER " - this is a hymn of love for his land. “ Do not allow the enemy to native land, do not expect it, but come out to meet, there he will be defeated "- Here is one of the most important motives of this epic legend.

The Buryat people always relate to the environment, always sought to do everything in harmony with nature. On the basis of the Buryat tradition, in this case, on the example of the epic, teaching children with a careful attitude towards nature. These ordinary postulates of behavior in the Nature should comply with all:

1. In the sacred places where the rites of worship of the owners of these places are performed, you can not kill wild animals, you can not chop wood. The spirits of our ancestors live here. In our village it is a mountain sorty, special places of rites - Uggeta (every kind - its place).

2. Our ancestors were considered a great sin (EHE SERE) to chop out a tree without need, throwing garbage into the water, without a particular need to dig the land (asking the master of this place of permission, that is, the perfumes). The main rule that must be respected by everyone: "Do not take the nature of more than what is required."

On the example of the traditions of the Buryat and Russian peoples, we bring children to the conclusion that this folk wisdom can and should be followed in our time.

"To the one who is deaf to nature since childhood, who in childhood did not pick the chick from the nest of the nest, did not discover the beauty of the first spring grass, then with difficulty reach the feeling of the beautiful, feeling of poetry, and maybe there is a simple humanity." - V.A.Sushellinsky.

List of primary and additional literature

Batamors p.p. Digest of articles. Irkutsk, 2006.

Vasilyeva M.S. Buryat and Russian environmental traditions. Ulan-Ude, 2002.

Anthem to man, anthem Earth "Abay Geeser", S. Chagdurov, Ulan-Ude, 1995.

Zimin J.A. History of the Alar district. Irkutsk, 1996.

Zimin J.A. Regional science. Ust-Orda, 1992

Kozin S.A. In-depth tale of the Mongols. Ulan-Ude, 1990.

Magtal, Ureel, Solo. Ulan-Ude, 1993.

Scientific publication - Buryat heroic Epos "Alagia Maran", Novosibirsk, Science, 1991.

PRAVOVSKIY A, "GREAT GESER" (Option of Uligershina Pöhon Petrova), Moscow, 1999.

Sharakshinova N.O. Heroic-epic poetry Buryat, Irkutsk, 1987.

Schherunayev R.A. Alar - My fate. Irkutsk, 2001.

Schherunayev R.A. Mansut Imgeev, Singer "Gasare", Irkutsk, 1993.

"Hangalov readings" is an interregional NPK, p. Ust-Ordinsky, 2008.

Khangalov M.N. Collected Works.Ulan-Ude, 2004.

Site geo.ru.

The site "The network of creative teachers of the Buryat language" found ".

Website "Network of Creative Teachers of the Buryat Language" - "Huramsh"

Illustrations for heroic Epos "Gaser"

Municipal Autonomous Educational Institution

"Secondary school №49"

Buryat heroic Epos "GESER"

Performed:

Gumpylova Ayun Vladimirovna,

class leader 7 "D" class

Ulan-Ude

2016

Content

Relevance

Logic of myth

Feats of Gesera

Excursion "Yurt Uzigshina" Museum of History of Buryatia named after M.N. Hangalov

Bair Gomboev - Ulygreshin

Bibliography

application

Scenario of the film "Folklore Buryatia. GESER "

GESER (Scenario Speeches)

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Heroic Epos "GESER" He is a unique monument of spiritual culture of the Buryat people. This epos consider it not only Buryats, but many other peoples of Central Asia. Epos is common in Tibetans, Mongols, Tuvintsev, Altaians, Kalmykov, North-Needibetic Uigurs.

GESER became a symbol of the Central Asian community of various cultures and traditions. The epic tale of the GESER is preserved in live people's memory before our time. If the oriad or Odyssey recorded thousands of years ago, they ceased to be executed by obsequators, transmitted from mouth to mouth, then "GESER" reached us and in the literary and folklore tradition.

In the Buryat folklore, as in the folklore of other nations of the world, there are such genres such as fairy tales, legends and legends. But the heroic epic occupies a special place. Heroic legends Buryat calledulgera.

This is the highest achievement of the oral folk creativity of the Buryat people. Uligers are an integral part of the epic heritage of the peoples of Siberia. Uligers are something akin to Russian epic.

Uligers were performed only before any important events: a big hunt, long-range campaign, in the name of the healing of patients. It was believed that the performance of heroic poems contributes to the insight of the blind. There were also prohibitions for the execution of Uligov: It was impossible to perform them during the day, in the presence of outsiders, for idle curiosity.

In the Buryat heroic epic, as in Russian epic, the main characters were the warriors who defend their land, going on a journey. The fiction is combined with elements of the real life of the Buryat people: its main classes (cattle breeding, hunting), life, traditions.

In these wonderful works of oral folk creativity, the features of the national character, the tradition of Buryat, their best qualities are given: loyalty to debt, love for native land, fearlessness and courage in the struggle. In the images of the epic warders, the heroic ideals of the people are embodied - the ideals of courage and valor, nobility and self-sacrifice, love for native land. These qualities are brought up with all the moves of historical development and the age-old struggle that people had to be conducted, protecting their own tribe from enemies.

Heroic Epos Buryat was created by the people. His creators and performers were coming from a simple people.

application

Film text "Folklore Buryatia. GESER "

Folkloreburyat - oral folk creativity, began to take shape in the daughtergishane times, he was a form of knowledge of life, the artistic perception of the surrounding world. Buryat folklore consists of myths,uligers, Shamansky calls, legends, religious hymns, fairy tales, proverbs, sayings, riddles. Myths about the origin of the Universe and Lifeon the ground.

Uligers are the top of the Buryat folk poetry, are epic legends about the old days.

The volume of Urders was from 5 or more than 20 thousand poems, in which mythology was closely walked with history. Uligers were performed by singers - Ureirdershin, who could tell them to tell them, playing themselves on Huura - an old plug-in musical instrument. Ure Streshina - the narrowers did not just play the well-known legends, but also complemented them, brought something new, depicting the feats of god-like warriors, the heroic battle scenes.

The central epic monument of Buryat is the Epos "GESER", which, by volume, epic and historical significance, is on a par with such monuments of the People's Thought of the Kalmyk People's Epos "Dzhangar", Kyrgyz "Manas" and others. There are many epic options, it is widely known in Mongolia, China. The most archaic, pristine are the Western Buryat versions of "Geser", in Mongolia and in Transbaikalia, the epic was not always the successful influence of Buddhism.

Currently, in the handwritten fund of the Buryat Research Institute, about two hundred records of the National Epos collected in various corners of Buryatia are stored.

And now you will see our excursion to the Khangalov Hangalov Museum "Yurt Uzigishshina".

GESER (Scenario Speeches)

It was in the old days. Eastern and West Hani-Cans, Altai-Ulaane and Han-Khurmas quarreled. Killed the obmium of the opponent, dropped to the ground, and went from this great evil ...

The gods were unwound, sent the son of Hurmas, Buch But Baligte, to correct the mistake of his father. He was helped by a wise body, grandmother Manzan Gourm, who knows all the secrets of the earth and the sky.

On Earth, Buch But Baligte in the earthly man, the baby Nyurgaya, was reborn in the wretched yurt. From the first days he began to defeat unclean power.

Did not have time to blink, the boy grew up. He mined three wives: Beautiful Tumen Zhargalan, Urmya Gorokhon, whose beauty is from the radiance of stars, and the daughter of the Marine Khan Almamergen. Then he accepted Nyurgai the appearance of the bazen and became known as Gasor.

Parts Atay Ulaana, the sword blurred on the ground scattered, appealed to the demons. ATA's head became the devil Archan Shudreir, who wanted to swallow the sun and the moon. Gaser won him in a difficult battle.

From the neck of Atay, the Supreme Devil Galnurman, burning all the living. He was stronger than Géer. Zasamergen, Brother Hero, helped him, Mount the Sacred Diamond Stone, not knowing the misair.

The right hand of ATTAYOUULAN has turned into a huge monster of orgings similar to the mountain range. It was the owner of the taiga, devouring the rocks, trees, people. It swallowed and Géer, but he drove the soul of the monster from the inside.

The left hand of the clarity was Sharem Minaat, the devil-dealer with a cast-iron whip. He wanted to open all the land into pieces. His forces and Geser were equal. Only Manzan Gourme wool wand struck the evil monster.

Then Geester went to the Abarga-Sacano demon, which had arisen from the body of Atay. Gaser turned himself in two playing boys and wounded a demon in the eye.

But the death of the devil was hidden reliably. The Gaser this time turned into a three-chapted son Abargy and went to Ehhoboe, one of the sisters that came out of the legs of Atia. She guarded the death of a demon.

It was not easy to Géer. He got it the cherished chest, Aven was thirteen fabulous birds and as many magical OS. Only by destroying them was able to cope with Abarga.

Astai-Ulaana turned into a black Loirlobsogold. He defended herself to destroy the hero: became good old man and when Geeser prayed, he enchanted him in the donkey. Sisters enhoeobo helped Lobswogoldo.

In the fruitless country, Honin Hoto hijacked the devil of the Donkey and the beauty of Urmaygoochon. Twenty-tel suffered in captivity of Lobsogoldy, protected by impassable, fiery moan, poisoned by sea and camp bastards.

The heaser was defeated by witchcraft, and Almamergen was able to save him with his magic char. The cunning of Lobsogoldoy was punished, he himself was buried under the rocks, and the sisters enhamed was drowning.

The land was cleared of demons generated by ATTAYOUULAN. But the three of his son, also dropped to Earth, went to the war on Géer to take away Urmaygoochon. Intelligence, they had a shooting bird Deeben.

All the bright forces needed that Gaser could defeat enemies, save his people, return the world to the earth. Returned great time! Yes, they will forget their eyes and hands about Kanenic arrows and bows.