Geser's horse. MHC Lesson
FOLKLORISTICS
THE BURYAT HEROIC EPOS AS AN ETHNOCULTURAL PHENOMENON IN THE CONTEXT OF THE INTANGIBLE CULTURAL HERITAGE BURYAT
© Dugarov Bair Sonomovich
Doctor of Philology, Associate Professor, Leading Researcher of the Department of Literary Studies and Folklore Studies of the Institute of Mongolian Studies, Buddhology and Tibetology SB RAS 670047, Ulan-Ude, st. Sakhyanova, 6 E-mail: [email protected]
© Nikolaeva Natalia Nikitichna
Candidate of Philology, Senior Researcher of the Department of Literary Studies and Folklore Studies of the Institute of Mongolian Studies, Buddhology and Tibetology SB RAS 670047, Ulan-Ude, st. Sakhyanova, 6 E-mail: [email protected]
Buryat uligers represent a deeply original, distinctive phenomenon in the context of the rich ethnocultural tradition of the Mongolian peoples. It is determined in the article that the heroic epic "Geser" is the main cultural phenomenon of the Baikal region, serving as one of the criteria of the vitality of the national spiritual culture. Geseriada has shown itself as a form of ethnic identity and national consolidation, organically and comprehensively connected with the core of the national spirit and its creative manifestation in time and space. It is noted that prominent Mongolian scholars were unanimous in the high historical assessment of the Buryat heroic epic in general, in particular the Geseriad, which indicates the importance of this epic monument in identifying the cultural heritage of the Buryat people in the context of Central Asian civilization. Thus, "Geser" is viewed as an original, completely independent and unique phenomenon that determines the spiritual image of the people who created it. Key words: epos, uliger, Mongolian peoples, Buryats, ethnocultural tradition.
THE BURYAT HEROIC EPIC AS ETHNO-CULTURAL PHENOMENON
IN THE CONTEXT OF INTANGIBLE CULTURAL HERITAGE OF THE BURYATS
DSc, A / Professor, leading scientific researcher of the Department of literature and folklore, Institute for Mongolian, Buddhist and Tibetan Studies Siberian Branch, Russian Academy of Sciences 6 Sahyanovoj Str., Ulan-Ude, 670047 Russia
Natal "at a N. Nikolaeva
PhD, senior scientific researcher of Department of literature and folklore, Institute for Mongolian, Buddhist and Tibetan Studies Siberian Branch, Russian Academy of Sciences 6 Sahyanovoj Str., Ulan-Ude, 670047 Russia
The Buryat uligers are deeply original and distinctive phenomenon in the context of rich ethno-cultural traditions of the Mongolian people. The paper shows that the heroic epic "Geser" is a major cultural phenomenon in the Baikal region, one of the vitality criterion of folk spiritual culture. Geseriada manifested itself as a form of ethnic identity and national unity, organically and comprehensively related to the core of the national spirit and its creative manifestation in time and space. It is noted that the outstanding sci-entists-mongolists were united in a high historical assessment of the Buryat heroic epic as a whole and particularly Geseriada, that says about the significance of this epic in the identification of cultural heritage of the Buryat people in the context of Central Asian civilization. Thus, "Geser" is regarded as a distinctive, fully independent and unique phenomenon defining the spiritual image of the people who created it. Keywords: epic, Mongol peoples, the Buryats, ethnic and cultural tradition.
The folklore tradition of the Buryats occupies a worthy place in the world ethnocultural space, being closely related to the ancient natural philosophical, ideological, ethical and aesthetic
representations. Folklore as an organic component of spiritual culture adequately reacts to the changing living conditions of its creators, performers and curators. At the present stage, the oral folk art of the Buryats, like many peoples of the world, is going through complex, ambiguous and largely irreversible processes of transformation, leveling and even complete loss of some genres, which is due to cardinal changes in the historical, socio-cultural, geopolitical nature in society. Folklore genres more and more often remain unclaimed, as a result of which unique traditions of narration and oral transmission of information are being lost. They are being replaced by mass culture - professional art, the Internet, television, and world literature. The disappearance of traditional forms of folklore is a ubiquitous phenomenon, expressed in the disintegration of genre features, the degression of plots and images, "modernization" and unification of performance and, in general, forms of expression (and not always for the better), rethinking of traditional elements. But, nevertheless, this does not exclude certain positive innovations and may be accompanied, under certain conditions, by the emergence of certain genres to a new level of existence and distribution among the people. At the same time, it should be noted that some genres show surprisingly high vitality and even productivity within the framework of the modern folklore process, retaining almost all the main genre-marking features and characteristics. Such genres, for example, include songs, good wishes, oral stories, ritual and aphoristic poetry.
A special place among the samples of oral folk poetry of the Buryats belongs to the heroic epic. The Buryat heroic epic is unique in its archaic origin, richness of language, original content, plot-compositional and poetic features. Outstanding Mongolian scholar Acad. B. Ya. Vladimirtsov wrote that the Buryat uligers are "real epics, not inferior to the epics of other peoples of the world", which are the result of a long and difficult creative life of the people. Largely thanks to the uligers, the Buryats retained their ethnic identity and self-identification, spiritual culture, and language.
In the archaic uligers of the Buryats, one can find a reflection of many aspects of their life, everyday life, customs, psychological makeup, artistic-aesthetic and religious-philosophical views, an early mythological system of ideas, one can find a complex of generic and even prenatal norms of prescribed behavior, a system of ideas that have the highest value significance for society, the realization of ideas about ideal social relations and the ideal representative of society, who embodies them.
Uligers reflected the most significant historical events of past eras, being in close connection with all socio-political processes that took place over a long time, with the process of the historical development of the Buryat people. But nevertheless, the epic is not a chronicle presentation, not an adequate mirror of reality, it is an artistic, poetically reworked reflection of these events, polished over time.
Perhaps the first examples of oral epic poetry appeared in the era of primitive society. Researchers have addressed this issue more than once. So, A.I. Ulanov attributed the origin and formation of the most ancient nucleus of the stage-wise early uligers of the Ekhirite-Bulagat group to the middle of the 1st millennium AD. ... In another, later work, he wrote: “The main ancient components, common with the Mongolian and Oirat, took shape, probably already in the second half of the 1st millennium, perhaps even when, in essence, there were no Buryat clans yet, but finally the epic was formed by the end of the 1st millennium ”.
MP Khomonov argued that the epic existed among all Mongolian peoples before the second half of the 1st millennium AD. NS. in the conditions of the decomposition of the maternal family and the rise of the paternal, further absorbing the features of subsequent eras. He argued that Geseriad also existed among all Mongolian peoples before the second half of the 1st millennium AD. NS. ...
N.O.Sharakshinova believed that the origin of the heroic epic of the Buryats and Mongols took place earlier than the 10th-20th centuries, although, of course, some of the epic works were formed in the following centuries. She proved this assumption with a number of facts, in particular, by the surviving fragments of epic works in the most ancient Mongolian monuments - "The Secret Legend of the Mongols", "Altan Tobchi", etc.: "Whole stanzas from the epic found in the" Secret Legend " the development of the heroic-epic tradition of the Mongol peoples, which originated before the XII century. "
The views of these scientists allow us to assume that, in all likelihood, the main core of the Buryat uligers, that is, the mythological views included in it, individual epic plots and motifs, could have arisen in the 1st millennium AD. e., in an era when the maternal family was losing its
the leading role and was replaced by the priority of the paternal family. And although the ancient forms of the epic have not survived to our days, the main plot-forming motives of the Buryat uligers quite clearly reflected this turning point in the life of the tribal society. In the future, a stable structure of uligers was formed, new original plot moves and artistic techniques were developed, an original style and language were developed.
The epic "Geser" is the pinnacle of the multifaceted oral epic creativity of the Buryat people and at the same time an outstanding monument of the world scale. The main difference and unique feature of the Buryat Geseriad is that it existed not as a literary work in a prosaic form, as, for example, among the Mongols, but was an excellent example of a poetic tradition that was transmitted over many centuries and generations of performers exclusively by oral means.
The Ekhirit-Bulagat and Unga versions of the Buryat Geseriad are known, which in turn have numerous variants. The Ungin version, written by I.N. Madason from the famous storyteller Pyokhon Petrov (volume of 12,536 verses) and published in translation and with comments by A.I. Ulanov, has parallels with the Mongolian book prose version and, according to many researchers, fell into the creativity of the Ungin Buryats through clans who fled from Mongolia to the Angara region due to oppression, wars, feudal strife in the XIV-XVII centuries. AI Ulanov noted that the Ungin versions of Geser, based on the epic that existed among the Buryats of the Angara region, acquired features characteristic of the entire Buryat epic. "Geser" influenced the formation of the Ungin epos as a whole, although he himself absorbed the plot and poetics of the Buryat Uligers. The similarity of the Ungin version with the Mongolian one lies mainly in the titles of the chapters, some plot proximity, in the names of the characters. Perhaps the source of the Ungin version was not only the Peking book woodcutter of 1716, but also the more ancient oral versions and versions of the epic that existed among the Mongol tribes. Thus, the Buryat Ungin version of Geser is not a simple mechanical borrowing, not a direct transfer of the Mongolian book version to Buryat soil, but a creative reworking of the work based on its rich epic tradition. The Mongolian version served only as one of the themes that came from outside into the Buryat environment. The Buryats created their biography of Geser, which unfolds against the background of the creation of the worlds of the Universe and its inhabitants.
An example of the originality of the epic, a magnificent example of an archaic authentic epic tradition, is the Ekhirite-Bulagat version of Geser, recorded by the narrator Manshud Imegenov by the famous Mongol scholar Ts. Zhamtsarano. It was the Ekhirit-Bulagat Geseriad who preserved in the pagan primordial poetic stream, numbering over 20,000 poetic lines, the most "generic" features of the original Turkic-Mongolian Central Asian epic.
In addition to the uligera "Abai Geser-khubun" (10,590 verses) dedicated to the exploits of Geser, there were also recorded uligers about the hero's sons ("Oshor Bogdo-khubun" and "Khurin Altai-khubun"), which constitutes a cyclized epic of 22074 verses that does not have analogues in the Siberian-Central Asian tradition. Akad B. Ya. Vladimirtsov called this trilogy "a colossal Buryat epic, far exceeding the size of the Iliad."
The same ekhirit-bulagat version performed by M. Imegenov was recorded by the American ethnographer J. Kurtin during his trip to the Baikal Buryats in 1900 and published nine years later in the USA.
In the works of Ts. Damdinsuren and A.I. According to S. Sh. Chagdurov, based on the study of uliger M. Imegenov from the side of poetics, figurative system and epic versification, this work is a convincing confirmation of the endogenous origin of the Buryat Geseriad and the most reliable guarantee of its originality.
Thus, among all the versions and variants of the Mongolian Geseriad, the Buryat Ekhirit-Bulagat version of M. Imegenov's epic has a reputation as “completely independent” (Ts. Dam-Dinsuren), almost entirely consisting of Buryat folklore plots, motifs and images, and early stages, dating back to the era of the origin of the epic. Ekhirit-Bulagat "Geser" is distinguished by a large volume and versatility of the plot, an expanded character of the narration with many episodes and characters. The image of Geser is characterized by the features of an ideal hero-hero, protector of the clan, reflecting the social ideals of the early Middle Ages, when a complex process of consolidation of kindred tribes and clans of Buryat ancestors took place. The image of an epic god
tyrya was comprehended in the context of real history and gradually lost its original mythological essence. A certain process took place in the development of the artistic image: on the one hand, it became epic in scale, and on the other, it became closer and more understandable to people as an invincible warrior, a fighter against external enemies and a defender of their native land.
The myths about celestials, which are saturated with the Buryat versions of the Geseriad, are distinguished by their multi-layered nature, representing a bizarre reflection of the centuries-old path of evolution of mythological ideas. Sacralized information permeates the theonymy of the character series of the gods acting in the epic, the heavenly and earthly topography, the symbolism of ritual actions performed by epic heroes and which in antiquity were, in all likelihood, a purely magical character. Even the fantastic images of the Mangadkhai monsters contain reminiscences of theological origin, dating back to the "mythological era" and revealing parallels in the ancient cultures of the Eurasian circle.
Having got acquainted with the repertoire of storytellers from different regions of ethnic Buryatia, we can say with confidence that the epic about Geser was the most popular and widespread example of oral folk art in numerous versions and versions. It is organically connected with the entire epic tradition of the Buryats - from the depiction of the life of the "semi-hunting, semi-cattle people" in its often archaic manifestations to the description of the gods of the shamanistic pantheon, who play an important role in the narrative. The character series of Geseriada, her motifs and images have correspondences in many Buryat uligers, forming a single epic whole based on a single poetical and stylistic tradition. Thus, the Buryat "Geser" as a grandiose epic, built on the type of all the heroic-epic works of the Buryat-Mongols, is entirely the fruit of the epic creativity of the Buryat-Mongols and the national epic work of the Buryat-Mongols.
Scientists-researchers of the Buryat epos are unanimous in their assessment of the originality and nationality of the Buryat Geseriad, which indicates the importance of this epic monument in identifying the cultural heritage of the Buryat people in the context of Central Asian civilization. It is quite natural that this heroic legend, which existed practically throughout the entire territory of the Baikal region for many centuries, influenced the mentality of the Buryats and the formation of their national identity.
Summing up, we can say that the Buryat heroic epic and, in particular, the uligers about Geser are deeply original and unique works of oral folk art, an expression of the moral and aesthetic ideals of ancient Buryat society, a kind of encyclopedia of folk life. The past and the present, especially the 21st century with its signs of total globalization, convince us that the epic "Geser", containing a whole world of traditional, in many ways sacred, enduring values, has substantial significance for identifying the national foundations of the spiritual heritage of the Buryat people.
Literature
1. Abai Geser-khubun: Epic (ekhirit-bulagat version). - Ulan-Ude, 1961. - Part 1. - 230 p.
2. Abai Geser-khubun: Epic (ekhirit-bulagat version). - Ulan-Ude, 1964. - Part 2. - 232 p.
3. Abai Geser. - Ulan-Ude, 1960 .-- 314 p.
4. Abai Geser the Mighty. Buryat heroic epic. - M., 1995 .-- 526 p.
5. Vladimirtsov B.Ya. Mongol-Oirat heroic epic. - Pg .; M., 1923 .-- 254 p.
6. Damdinsuren Ts. Historical roots of the Geseriad. - M., 1957 .-- 239 p.
7. Poppe N.N. On the attitude of the Buryat-Mongolian Geser to the Mongolian book version // Notes of GIYALI. - Ulan-Ude, 1941. - Issue. 5-6. - S. 7-19.
8. Ulanov A.I. On the characterization of the heroic epic of the Buryats. - Ulan-Ude, 1957 .-- 171 p.
9. Ulanov A.I. Buryat heroic epic. - Ulan-Ude, 1963 .-- 220 p.
10. Khomonov M.P. Buryat heroic epic "Geser": Ekhirit-Bulagat version. - Ulan-Ude, 1976. -187 p.
11. Khomonov M.P. Mongolian Geseriad. - Ulan-Ude, 1989 .-- 128 p.
12. Chagdurov S.Sh. Poems of the Buryat Geseriad. - Ulan-Ude, 1984 .-- 124 p.
13. Sharakshinova N.O. Heroic-epic poetry of the Buryats. - Irkutsk, 1987 .-- 304 p.
14. Curtin J. A Journey in Southern Siberia. The Mongols, their Religion and their Myths. - Boston, 1909.319 p.
1. Abaj Geser-hubun. Epopeya. (Ehirit-bulagatskij variant). Ch. I.. Ulan-Ude, 1961.230 p.
2. Abaj Geser-hubun. Epopeya. (Ehirit-bulagatskij variant). Ch. II. ... Ulan-Ude, 1964.232 p.
3. Abaj Geser. Ulan-Ude, 1960.314 p.
4. Abai Geser Moguchij. Buryatskij geroicheskij epos. Moscow, 1995.526 p.
5. Vladimirtsov B. Ya. Mongolo-oiratskij geroicheskij epos. Petrograd, 1923.254 p.
6. Damdinsuren Ts. Istoricheskie korni Geseriady. Moscow, 1957.239 p.
7. Poppe N. N. Ob otnoshenii buryat-mongol "skogo Gesera k mongol" skoj knizhnoj versii. Zapiski GIALI. Vyp. 5-6 - Proceedings of SILLI. Issue 5-6. Ulan-Ude, 1941. Pp. 7-19.
8. Ulanov A. I. K kharakteristike geroicheskogo eposa buryat. Ulan-Ude, 1957.171 p.
9. Ulanov A. I. Buryatskij geroicheskij epos. Ulan-Ude, 1963.220 p.
10. Khomonov M. P. Buryatskij geroicheskij epos "Geser": ekhirit-bulagatskij variant. Ulan-Ude, 1976.187 p.
11. Khomonov M. P. Mongol "skaya Geseriada. Ulan-Ude, 1989. 128 p.
12. Chagdurov S. Sh. Stihoslozhenie buryatskoj Geseriady. Ulan-Ude, 1984.124 p.
13. Sharakshinova N. O. Geroiko-epicheskaya poezya buryat. Irkutsk, 1987.304 p.
14. Curtin J. A Journey in Southern Siberia. The Mongols, their Religion and their Myths. Boston, 1909.
Heroic epic "Geser"is a unique monument of the spiritual culture of the Buryat people. This epic is considered their own not only by the Buryats, but also by many other peoples of Central Asia. The epic is widespread among the Tibetans, Mongols, Tuvinians, Altai, Kalmyks, North Tibetan Uighurs. Geser has become, as it were, a symbol of the Central Asian community of different cultures and traditions.
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Geser (Buryat epic)
Among the Buryat uligers (heroic legends), the most popular, the largest in significance, is the legend of Geser. "Geseriada" is an epic cycle of oral and written legends about Geserkhan, widely spread in Central and East Asia. It finally took shape in the 16th – 17th centuries. Tibetan and Mongolian prose and Buryat verse versions of "Geseriad" are known.
"Geser", impressive with unrestrained imagination and grandiose volume, is called the "Iliad of Central Asia".
There are several versions of "Geser". The most common, Erichit-Bulagat version, consists of 9 branches.
Nine branches are nine songs about various events, about Geser's struggle with various kinds of monsters. According to the legend of the Buryats, the legend of Geser was performed in the old days for nine days and nine nights.
The main storyline of "Geser" is as follows.
The evil monster wants to destroy all life on earth and carries out his sinister plan. To save the human race from total death, Geser is sent to fight the monster.
Geser is a celestial, and when he descends from heaven to earth to perform a feat of good, he is reincarnated into a man. He is reborn on earth in a poor shepherd's hut, for only a "human child" born into a family of poor people can, according to the authors of the epic, understand the grief and aspirations of the people, "women's tears, men's tears, sorrows, sorrows, human torments."
The epic poem "Geser" tells about the birth of the future hero in a poor hut, about his childhood, youth, his maturity, about his accomplishment of all his deeds, about the deliverance of people from misfortunes and disasters. On heroic trips, Geser masters the whole world (victories over the demonic rulers of the North, East, South and West, the liberation of his mother from hell). He is called "the exterminator of ten evils in ten countries of the world."
When Geser completes his exploits, the time has come for him to return to heaven. But Geser, while he lived on the earth and liberated it and people from all evil spirits, while he saved people from misfortunes and disasters, he managed to fall in love with this land and people and remained a man on earth. Honor, courage, selfless service to goodness won him the love and respect of his fellow countrymen, who for a thousand years have been passing down the legend of the hero from generation to generation.
The creators of the epic create gods in their own image and likeness. The celestials are humanized. The sky is a reflection of earthly space. In the sky there are pastures, mountains, taiga, horses, sheep, bulls graze; there is a state of good celestials - western and evil - eastern, there is also a "neutral" small Middle Kingdom. The celestials act like people, they are also characterized by human weaknesses, and this combination of the mundane and the sublime makes up the special poetic charm of Geseriad.
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"Geser Khan". N.K. Roerich.
Thirty arrows from quivers
Let's extract and show.
Thirty famous khans -
We will tell you about the brave one.
There were twenty caskets,
Where we kept the arrows.
There were twenty fighters
And one is the most daring!
We didn't forget to call
Elders who lived before us.
The old ones were
We'll tell you now.
Like the constellations of the south.
Let the story not go out, -
Only tears from a friend
Let it spill from the eyes.
We will sing until a moment
What the dawn brought us
We will sing until oblivion
To delight and tears.
Let's sing to the neighbors
They crowded at the window,
So that in our conversation
People fell in love with the song!
By the sacred tree
Nine long branches.
Here is the legend of Geserovo -
Also nine branches.
The trunk of the tree is gray,
Candles in yellow foliage
And in verses about Geser -
Battle in every chapter.
Uh-uh! Uh-uh!
We are behind the hawk in the clouds
Why not chase?
Bloodline of the mighty
Why not do 6?
Uh-uh! Uh-uh!
Translated by Semyon Lipkin.
BRANCH ONE
HISTORY OF HUMAN JUDGMENTS
When it was
This was when the beginning
The Primordial Dawn;
The first glow came on
The first haze was created;
The grass has not sprouted yet,
Words haven't sounded yet
For the first time told by the story,
And it was still light dust
Our solid mother earth
And the mighty snake
Was a harmless worm
A pitiful lump of dirty clay
And Sumbar Mountain is a hillock;
The giantess fish then
It was an inconspicuous fry;
The ocean that rages all around
That is magically rich in milk
Was an insignificant puddle then;
The stormy rivers did not rustle the water.
That was when the sandal
I had no incense,
And the spotted female deer
She remained a pure heifer;
Stayed in a motionless gloom
Everything that now grows on the earth;
The gigantic swan was
Like a weak daw, small;
There were formidable horses
Newly born;
There was not at that time
Neither ordinary nor khan's roads;
The war had not yet thundered;
Neither eastern nor western god
They have not yet known enmity;
Fighting their ranks
The celestials did not call
And the warriors did not fight.
It was even before
How legend became a fairy tale
How they got into a harsh argument
White paint with black paint.
The world did not know what was in the world
Eternal quarrel and revenge
The giant was not yet evil,
Celestial Atai-Ulan.
Did not spin in a spinning alive
Heaven with a White Seam, with a White Seam.
Didn't boil yet day after day
Heaven with a White Bottom, a White Bottom;
On the pages of times where it shone
All that is now open to the eyes
The cherished deed was fulfilled,
The narrated tale was performed ...
Heroes of the Western Heavens
Khan-Khurmas was in the West,
In the heroic beauty of the battle,
Head over the rulers:
Over fifty five
The head of the celestials.
How he was born in the highlands,
I played with him, having fun and joking,
Raised the child to the chin,
Lulled and rocked
And raised, taught,
So that the boy grows mighty,
That father Esege-Malan,
That the lord was nine
Outlandish heavenly countries.
He created a bright firmament,
He created both life and death
The Transcendent Seven Powers.
Let's start about Khurmas by saying:
From the first days I washed him,
I called him dear,
Warmed him at the breast,
Swaddled, raised him,
So that his strength is exalted,
Mother Ekhe-Yuren,
That was the beginning of the warmth
That the eternal support was
Thousands of white skies.
Over fifty five
Heaven is the head-mistress,
She who has established her will,
So that wisdom can be exalted
Mistress of the celestials,
Granny Manzan-Gourmet
She sat in her hand holding
A cup of reason and goodness,
Made of silver
Khan-Khurmas was the head of the troops.
With life, life, head to head
Gere-Sesen became akin to him,
Spreading out the felt-saddlecloth,
The spring that gave light,
Who instructed her sons
Raised daughters
Not hiding a clear appearance,
And the cloud served as her mirror!
Khan-Khurmas was a happy father
Three healthy strong sons,
Black-browed three daughters,
Was the head of thirty and three
Mnogoshnikh warriors,
And three brothers - earthly kings,
And three hundred noble leaders,
And three thousand military men.
His eldest son, a white son,
Famous and brave son,
Lived at the top of the mountain.
His horse was gray like a hawk,
Was faster than the black wind.
Bogatyr Zasa-Mergen
Did a lot of good deeds
I saw many bad deeds,
He dispersed the darkness and fog,
He conquered evil and deceit.
His middle son, the red son,
Lived on one of the peaks
Where are the transparent clouds.
He was a strong and strong warrior,
With a neck as thick as a bull
His body was elastic and slender, -
Powerful-armed, broad-shouldered,
I was not afraid in battle-slashes
Bogatyr Bukhe-Baligte!
His younger son, his third son,
Lived among the mountain gorges,
Possessed a bottomless mind
Possessed a nighting horse.
He, like a golden eagle, flew to the feat, -
For great born deeds,
Bogatyr Khabata-Gerel.
White eldest daughter
She tried to help everyone in the state.
She raised the dead
She inspired the brave
She healed the sick
She admonished the bad,
Gave gifts to poor people
She turned children into strongmen
And in mighty horses - foals.
They say about Erzhen-Gokhon:
For men, it was bliss,
Among wives - she was perfect!
Red-colored middle daughter
Power asserting its beauty
Feelings feeling exciting,
Awakening the thoughts of those who think, -
All the purest of all sides
Has surpassed in its purity
Chaste, young,
Daughter of Vladyka Duran-Gohon.
And the last, youngest, daughter
From lullabies, from the first days
All the more diligent and smarter
Hard-working, with a kind smile
And with a gait that is smooth and flexible.
She took care of the white color in purity,
And she took care of the lambs without number,
And I tried to make the greens grow
Young Sebel-Gohon.
To continue to tell the story,
We'll take a look at the ground now.
We will find three brothers of Khurmas there,
Three rulers in the earthly world.
Was from the younger to the eldest - Sargal.
I kept a book of white decrees.
White-faced and white-headed,
He rode on a white horse,
He dwelt in the White Land,
Where the roads are whiter than the clouds.
The middle brother lived in the country of Suragt,
Where kindness is unknown
Where the roads are full of blackness
Like black clouds
Where the decrees are full of slander
Like a slanderer's heart.
He possessed a black horse
And a soul with a black muddy bottom,
And at the bottom - anger and deceit.
The khan's name is Hara-Zutan.
With a pure, honest soul, the sovereign,
The third brother lived in Tagashin country,
Where are the roads from afar
Blue like clouds.
Sangelen was famous everywhere.
His horse was equal to a camel.
The book of his blue decrees
Revered like a miracle.
And among thirty and three
Celestials-heroes
All are more important and all brave
There was a mighty Buidan-Ulan.
He was his father - Kholod-Buran.
His chest was wide
And the back is the back of a daredevil.
He was powerful and strong-armed,
He possessed a springy bow,
A melting arrow in the clouds.
He had a horse-pacer,
That flew between the sky and the earth.
And the second of those strong men
Was a thunderstorm for treacherous swords.
Was a thunderstorm for thugs and bully,
He amazed the world with his courage.
That is Burgy-Shumar, whose father is
White-faced Zayan the sage.
He was familiar with the battle,
He was the most accurate marksman.
Near the red dawn, in the sky,
Over the vastness of earthly roads,
He rode on a chestnut horse,
That he was thin-legged from vystoyka.
The third warrior is stern and stern,
The third warrior is fear for enemies.
It was a shooter with a strong bone,
It was a marksman with a mark of anger,
Whose arrow is fast like a star.
He turned the rock into sand,
And the mountain crumbled like dust,
If he pushed the mountain with his foot.
The warrior had a dashing horse,
The color of the horse is like dawn itself.
This warrior is Erzhen-Shumar,
The son of Oidbla the hero.
And the fourth was strong in camp,
It was called Bege-Buylan.
Enemies trembled before him.
He was the son of Budarga,
The giant of white skies.
He crushed everything that is dirty and gray,
I measured everything, what is the measure,
Weighed everything that has weight.
Rising like a rock
And fighting on the right wing
He also saw the left wing.
He crushed meanness and evil.
Fifth, famous for his songs,
Was protection from any misfortune,
Was armor against all danger.
There was so much authority in his songs,
That when he sang, in the distance
The water in the river was boiling.
That was how his singing sounded,
So rich in thought are words
That there is grass on the bare stone
Growing green.
He brought a lot of delights.
He received many awards -
Bogatyr Nekhur-Namshen.
And the sixth is very young
Bogatyr, fifteen years old -
Was covered with iron armor
He was dressed in chain mail and a carapace.
His muscles were strong.
He flew like a whirlwind in the open -
Possessor of a mighty back
And the chest is as wide as the sea.
And his heroic bow
Was a product of Bukhara.
The yellow arrows were sharp.
His quiver was gold.
This warrior, Erhe-Manzan,
Was the owner of a horse friend
The colors of blood and the colors of fire.
There were thirty and three daredevils:
If we start talking about them,
We will never make it to the end.
They told about six
Let's not forget the rest:
Nine strong men stood by the forge,
There were nine dashing blacksmiths,
Nine hammered stubbornly,
And in total - twenty-seven brave men.
The horses flew snoring towards the sunset.
Fire and the Word have been worshiped for generations.
Geseriad keeps silence
About the secrets of their origin.
But the descendants remember the riders wisely,
Where does the light of good old come from:
Great voice of the nomadic morning,
Mouths are immortal uligershina.
Geser is not only the central character of the Buryat heroic epic, but also the most popular character in the Buryat folklore. In his image, the best human traits and qualities are brought together. The creators of the epic saw in Geser a hero with an exalted soul and good thoughts, Geser goes to meet his fate, full of faith in the justice of his destiny. He does not change the decisions made and invariably achieves his goal. Geser is faithful in friendship, but adamant in the fight against
enemies. According to the norms of the customary law of the tribal society, Geser buries a defeated enemy according to an ancient custom with military honors. At the same time, the hero says: "I should not boast that I suppressed the mighty enemy," because he understands that the struggle is not over yet. Since the defeated opponent has a circle of his loved ones, they can try to take revenge on the winner.
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| Sampilov Ts.S. Sketches for the epic Geser | Sampilov Ts.S. Sketches for the epic Geser | Jamsaran (Tib. Jamstrin). Mon- Holia XIX |
Geser (Goviin lha). Mongolia XIX | Geser. Mongolia, mid-19th century | |
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| Tibetan cursive manuscript of Geseriad | Pages of the Tibetan manuscript of Geseriad | To the 275th anniversary of the publication of the Mongolian version of the Geseriad. Booklet | Distribution map of the Buryat Geser | ||
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| Sakharovskaya A.N. Abai Geser | B.M. S. Zydrabyn. Illustration for the branch of the first epic Geser | E. Purevzhav. Geser Khan on the way | Shonkhorov Ch.B. Geser's victory over Gal-Nurman khan | Shonkhorov Ch. B The birth of the HESER on earth | Shonkhorov Ch.B. The last fight |
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| Dorzhiev B. Songs about the native land. 2005 | Shonkhorov Ch.B. Lobsogoldy turned Geser into a donkey | Shonkhorov Ch.B. The last fight | Shonkhorov Ch.B. Geser on the hunt | Shonkhorov Ch.B. Meeting of the three tengeri | |
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| Shonkhorov Ch.B. War between Western and Eastern Tengriyas | Shonkhorov Ch.B. Geser's fight with mangadhai | Shonkhorov Ch.B. Geser's fight against Gani-Bukhe's gazarai | Shonkhorov Ch.B. Geser rises to the seventh heaven | Shonkhorov Ch.B. Illustration for the epic Geser | Sakharovskaya A.N. etc. Geser descends to the ground (batik) |
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| Morinhur | Geser. Mongolia, early 19th century | I. Garmaev as Geser. 1995 |
The bearers and keepers of ancient epic traditions were their experts - uligershins. They were held in high esteem and respect by the people. The proverb says about the love of the Buryats for storytellers: "Uligershin is supposed to sit on an olbok pillow, and the singer is supposed to sit on a dobun hill" or "Uligershin is treated with foams and cockroaches, the storyteller is put on a carpet and a pillow."
At the time of the productivity of the epic tradition, uligers probably knew, if not all, then many. Even now, by interviewing people of the older generation, the names of many storytellers who performed uligers in the 1920s and 1930s have been identified. But not every connoisseur of uligers could become a good uligershin. They were the best in skill and knowledge, with the appropriate talent. The narrator should have had an impeccable memory so that, without omissions and distortions, as required by tradition, he could convey huge epics, consisting of thousands of verses. Uliger could not be reduced, altered in his own way. Evaluation of his performance was given by listeners who knew well the content of the uligers. The singer had to have a sonorous beautiful voice, an ear for music, a good command of the word, and most importantly - be able to be inspired, because he "is a kind of inspired poet." The storyteller seemed to be reincarnated as a hero, selflessly giving himself up to singing; with his voice, special intonations, gestures or playing the khura he conveyed the peculiarities of the events taking place in the epic. Such a state of inspiration came to the uligershin only in front of the audience, “in a certain exciting environment,” as Ts. Zhamtsarano writes.
Thus, a good uligershin was an actor, musician and poet all rolled into one. Such requirements were determined by life itself and proceeded from the syncretic nature of ancient art. And therefore it is not surprising that “the listeners of a good rhapsode cry in strong tragic places, express the most lively joy when the truth suddenly triumphs.
Buryat storytellers were not professionals. Often ordinary workers, people from poor strata, were fond of the art of narration of uligers, many of them worked in their youth.
The storytellers perceived the texts from childhood, mainly in the family circle. Most of them had parents or grandparents as storytellers. In addition to the family, the source of the repertoire could be folklore connoisseurs from their own or neighboring ulus. So, uligershin P. Petrov in childhood heard folklore works from his father, as well as from a storyteller from the neighboring village of Tabaran Dorzhiev. Since there was no professional performance, there were no “schools”, admission to the storyteller “as students”. Over time, the narrator's repertoire, which was perceived along a related line, expanded and replenished. Most often this happened in places where people from different regions gathered.
According to the epic scholars, the poetics of Geseriada is highly organized, the verbal text is richly saturated with metaphors, hyperboles, antitheses and other artistic and graphic means. The storytellers themselves had a good sense of the rhythm and size, used the techniques of speeding up and slowing down the rhythm.
They skillfully varied various accords, alliterations, inner and final rhymes. Storytellers often used such a technique as parallelism - psychological and syntactic. The epithet was distinguished by freshness and novelty, although, as is characteristic of every epic, the stability of favorite definitions was traced: black and yellow colors are, as a rule, negative, at the same time, the yellow color of certain objects - the handle of a sword, a brush of a headdress - is perceived as positive. White, red, silver are always positive colors.
The execution of the uliger was considered not an easy matter and pursued not only entertainment goals. Usually it was timed to coincide with some public event. Ts. Zhamtsarano noted: “Uliger sing (say) to achieve various benefits, for example, to heal the sick, to enlighten the blind, to succeed in trades, hunting, raids, fishing, etc .; Uliger contributes to success in hiking. "
The production and ritual significance of the performance of the epic remained for a long time. In the past, the performance of the uliger was an integral part of the household complex of the ancient collective. So, the specific purpose of the uliger is reflected in the ritual of hunting preparations for the taiga hunters, who were to enter the world of forest animals. “Upon arrival at the hunting site, the Buryats performed some rituals aimed at pleasing the spirits of animals and forests, on which one or another hunting outcome depends. Then, in the evening, before going to bed, the singer spread his white felt in the hut (not stained with horse sweat), they put lighted juniper branches, a cup of wine or milk on it, stuck an arrow into it and all night, until the first glimpses of the morning dawn, they sang his epic: without this ceremony, the hunt, according to the Buryats, could not be successful ”.
This is how those uligershins (M. Imegenov, E. Shalbykov, L. Bardakhanov) understood the meaning of their storytelling business, with whom Ts. Zhamtsarano met and worked for a long time in the uluses of the Kudinskaya valley of the Irkutsk province at the beginning of the 20th century. He noted that a suitable audience is required for the performance of an uliger, which means listeners who know the content of epic poems and who are versed in the intricacies of storytelling art. However, the aesthetic side of the performance of the epic became more tangible and gradually began to prevail in the performing process. In the old days, at the time of active epic creativity, uligers were performed at a certain time or in a certain setting. Thus, the narrator P. Petrov did not perform uliguera in the summer (more precisely, after the winter cold) and in the daytime. Usually the uliger was performed on autumn and winter evenings in the circle of one-lusniki. Listeners perceived the uligers as memories of the historical past of the people. The perception of the uliger is marked by depth and seriousness, its effect was “cleansing” and influencing the spiritual mentality of the listeners. At the same time, one should take into account the enormous artistic impression produced by the performance of the uliger.
Municipal autonomous educational institution
"Secondary school number 49"
Buryat heroic epic "Geser"
Completed:
Gumpylova Ayuna Vladimirovna,
class teacher 7 "d" class
Ulan-Ude
2016
Content
Relevance
The logic of the myth
Feats of Geser
Excursion "Yurt uligershina" Museum of the History of Buryatia named after M.N. Khangalova
Bair Gomboev - uligershin
Bibliography
Application
Screenplay for the film “Folklore of Buryatia. Geser "
Geser (performance script)
Relevance
Heroic epic "Geser" is a unique monument of the spiritual culture of the Buryat people. This epic is considered their own not only by the Buryats, but also by many other peoples of Central Asia. The epic is widespread among the Tibetans, Mongols, Tuvinians, Altai, Kalmyks, North Tibetan Uighurs.
Geser has become a symbol of the Central Asian community of different cultures and traditions. The epic legend about Geser has been preserved in the living people's memory up to our time. If the Iliad and Odyssey recorded thousands of years ago have ceased to be performed by storytellers, passed from mouth to mouth, then "Geser" has come down to us in the literary and folklore traditions.
In Buryat folklore, as in the folklore of other peoples of the world, there are such genres as fairy tales, legends and traditions. But the heroic epic occupies a special place. The heroic legends of the Buryats are calleduligers.
This is the highest achievement of oral folk art of the Buryat people. Uligers are an integral part of the epic heritage of the peoples of Siberia. Uligers are somewhat akin to Russian epics.
Uligers were performed only before some important events: a big hunt, a long hike, in the name of healing the sick. It was believed that the performance of heroic poems contributes to the enlightenment of the blind. There were also bans on the performance of uligers: it was impossible to perform them during the day, in the presence of strangers, for the sake of idle curiosity.
In the Buryat heroic epic, as in Russian epics, the main characters were heroes who defend their land, going on a journey. They combine fiction with elements of the real life of the Buryat people: their main occupations (cattle breeding, hunting), everyday life, and traditions.
In these wonderful works of oral folklore, the features of the national character, the traditions of the Buryats are clearly expressed, their best qualities are sung: loyalty to duty, love for their native land, fearlessness and courage in struggle. The heroic ideals of the people are embodied in the images of epic heroes - the ideals of courage and valor, nobility and self-sacrifice, love for their native land. These qualities were brought up by the entire course of historical development and by that age-old struggle that the people had to wage, defending their clan, their tribe from enemies.
The heroic epic of the Buryats was created by the people. Its creators and performers were people from the common people.
Application
Text of the film “Folklore of Buryatia. Geser "
FolkloreBuryats - oral folk art, began to take shape back in the prechingis Khan times, it was a form of knowledge of life, artistic perception of the world around. Buryat folklore consists of myths,uligers, shamanic invocations, legends, cult hymns, fairy tales, proverbs, sayings, riddles. Myths about the origin of the universe and lifeon the ground.
Uligers are the pinnacle of Buryat folk poetry, they are epic legends about the bygone times.
The volume of uligers ranged from 5 and more than 20 thousand verses, in which mythology was closely intertwined with history. Uligers were performed by singers - uligershins, who could recite them by heart, playing along with themselves the khuur - an ancient plucked musical instrument. Uligershins - storytellers not only performed legends known to them, but also supplemented them, introduced something new, depicting the exploits of god-like heroes, heroic battle scenes.
The central epic monument of the Buryats is the epic "Geser", which in terms of volume, epicity and historical significance is on a par with such monuments of folk thought - the Kalmyk folk epic "Dzhangar", the Kyrgyz "Manas" and others. There are many variants of the epic, it is widely known in Mongolia and China. The most archaic, primordial are the Western Buryat versions of "Geser"; in Mongolia and Transbaikalia, the epic was not always successfully influenced by Buddhism.
At present, the manuscript fund of the Buryat Research Institute contains about two hundred records of the national epic collected in various parts of Buryatia.
And now you will see our excursion to the Khangalov Museum "Yurt Uligershin".
Geser (Performance script)
It was in ancient times. The eastern and western khans-celestials, Altai-Ulaan and Khan-Khurmas quarreled. Hurmas killed his rival, threw him to the ground, and a great evil went from this on the ground ...
The gods caught themselves, sent to earth the son of Khurmas, Buhe-Baligte, to correct his father's mistake. He was helped by a wise progenitor, grandmother Manzan-Gurme, who knows all the secrets of earth and sky.
On Earth, in a wretched yurt, Bukhe-Baligte was reborn into an earthly person, baby Nyurgai. From the first days he began to conquer evil spirits.
Before they could blink an eye, a boy grew up. He got himself three wives: the beautiful Tumen Zhargalan, Urmay Goohon, whose beauty is from the radiance of the stars, and the daughter of the sea khan AlmaMergen. Then Nyurgai took the form of a bator and began to be called Geser.
Parts of Atai Ulaan, scattered across the ground with a sword, turned into demons. Atai's head became the devil Arkhan Shudrer, who wanted to swallow the sun and moon. Geser defeated him in a difficult battle.
From the neck of Atai emerged the supreme devil GalNurman, who burns all living things. He was stronger than Geser. ZasaMergen, brother of the hero, helped him by throwing a sacred diamond stone that knows no mistake.
AtayUlaan's right hand turned into a huge monster Orgoli, similar to a mountain range. It became the master of the taiga, devouring rocks, trees, people. It also swallowed Geser, but he cut the monster's soul from within.
The celestial's left hand became Sharem-Minaat, a child-eating devil with a cast-iron whip. He wanted to rip the whole earth apart. His and Geser's forces were equal. Only the wool stick of Manzan-Gourmet struck the evil monster.
Then Geser went to the demon Abarga-Sesen, who arose from the body of Atai. Geser transformed himself into two playing boys and wounded the demon in the eye.
But the death of the devil is hidden safely. Geser this time turned into the three-headed son of Abarga and went to Enkhoba, one of the sisters that came from the legs of Atai. She guarded the death of the demon.
It was not easy for Geser. He got out the coveted chest, thirteen fabulous birds and the same number of magical wasps turned out to be awn. Only by destroying them could he cope with Abarga.
Atai-Ulaan's back turned into a black Loyr Lobsogoldoy. By cunning he planned to destroy the hero: he became a good old man and when Geser prayed, he bewitched him into a donkey. The Enkhoboy sisters helped Lobsogoldoy.
Honin Hoto drove the devil donkey and the beautiful UrmayGoohon to the barren country. They suffered twenty bodies in captivity at Lobsogoldoi, guarded by an impenetrable thicket, a fiery ditch, a poisoned sea and winged bator.
Geser was defeated by witchcraft, and only AlmaMergen was able to save him with the help of her magic spells. The insidiousness of Lobsogoldoi was punished, he himself was buried under the rocks, and the Enkhoboi sisters were drowned.
The earth was cleared of the demons generated by the body of AtayUlaan. But his three sons, who were also thrown to the ground, went to war against Geser in order to take away UrmayGoohon. Their scout was the fierce bird Deeben.
All light forces were needed so that Geser could defeat enemies, save his people, and restore peace to the earth. A great time has returned! Let the eyes and hands forget about the red-hot arrows and bows.