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14FOLKLORE OF LEZGI ETHNIC GROUP IN THE CULTURE OF THE MODERN PERIOD OF THE REPUBLIC OF AZERBAIJAN
MUSAYEVA TURKAN KHALIL
PhD student of the National Conservatory The Republic Of Azerbaijan
Summary
The article highlights the folklore of lezgi ethnic group living in Azerbaijan, examples that have survived to the present time.
The genres of Lezgian folklore at the present stage reveal a different degree of existence: some of them are gradually dying out (for example, some spell songs accompanying the rites of summoning rain and sun, songs of the wedding cycle), others (songs, fairy tales, proverbs, sayings, riddles, crying songs, etc.), to a certain extent changing, they are widely used in our days. The study of the works of modern poets and writers reveals a harmonious combination of traditional plots and forms in them with professional ones associated with the new time and the new worldview of the people.
Keywords: Lezgi, folklore, mythology, literature
The origins of the oral folk art of the Lezgins go back centuries. Folklore works were passed down from generation to generation, permeating the entire household, and therefore firmly entrenched in the memory of the people. Interest in them does not weaken today.Nowadays, Lezgin folklore accumulates a fusion of ancient and modern traditions, which has developed into a multifaceted system consisting ofvarious genres: mythology, epic, legends and legends, fairy tales, proverbs, sayings, riddles, ritual poetry, historical songs.
The vast majority of folklore works have been collected, analyzed and systematized by researchers of different historical periods.. He wrote about the folklore of the Highlanders: "Fairy tales, songs, sayings, living in the mouths of the people, are the only, quite reliable source for learning the language. Collecting everything that lives by word of mouth among the people should constitute the first written monument after the creation of the alphabet" (Uslar P.K., 1981. p. XXX).
The traditional culture of the past is a great national heritage, the aesthetic value of which is known and understood by the people today. The folklore heritage of the Lezgins in our time is also fresh in the memory of the people, concluded in them, folk wisdom and wit, edification and humor are as stable as in the past. Characterizing this universal pattern of Development for all peoples.Weyman writes: "The folklore heritage of the past is not an archaic immobility, but an effective spiritual reality: it is stored not in the archive, but in the life of the people; it is not just transmitted and adopted from generation to generation, but becomes the property of the whole society, rising to the level of the function of public life" (Quoted by: Gamzatov G.G., 1982. p. 77).
However, it should be noted that the process of functioning of folklore, as well as other forms of spiritual culture (beliefs, rituals, artistic crafts, etc.), has its own characteristics and stages due to changes in the socio-economic and political spheres of society. So, until the first quarter of the XX century. traditional forms of Lezgin folklore function among the people almost unchanged. Since the 30s of the XX century with the mass elimination of illiteracy, the development of public education and the system of mass communication (press, radio, cinema, television, etc.), and especially the growth of communist ideology, there is a gradual narrowing of the functions of traditional forms of spiritual culture. Folklore traditions, without completely leaving the national way of life, began to be practically perceived to a certain extent symbolically, increasingly giving way to professional poetry, in which the new socialist system was glorified, communist ideals, revolution and its leaders. Since the 90s of the XX century, with changes in the political and ideological spheres of society, the growth of national consciousness among the Lezgins, as well as among other peoples of the country, interest in traditional forms of spiritual culture, including traditional folklore, has been dynamically
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increasing. Aesthetic understanding of traditions is combined with their ethnic assessment, with the desire to use them to create a national flavor, emphasizing the value of the spiritual heritage of the past.
The processes of reviving elements of spiritual culture, including folklore, have been developing especially significantly in recent years. This is manifested in the activation of traditional rituals and customs and accompanying elements of folklore, in theatrical performances, in particular, dedicated to the hero of the Lezgian epic - Sharvili, held annually in the village of Akhty RD; in the field of publishing - this is the publication and republication in central and local publishing houses of collections of folklore works in the original and translated into Russian; in the field of musical culture , it is an arrangement of works oral folk art to the music of modern composers, the inclusion of elements of folklore genres in the system of modern professional literature and art. Before proceeding to the oral folk art of the Lezgins at the present stage, it should be noted that, although it retains the traditional repertoire, plot, images and style, in modern interpretation it often incorporates elements of real household details, local natural conditions, new social realities, ethical and aesthetic norms.
The keepers of legends, fairy tales and songs about them are mainly representatives of the older generation of Lezgins; many of them are collected, systematized and published in central and local publishing houses, and included in the curricula for schoolchildren and students of higher and secondary specialized educational institutions. One of the best epic heroes of the Lezgins and in our days remains a hero Sharvili, whose image exists in several genres: in fairy tales, songs, legends and lament songs. The fact that they have come down to our days, that among the people with every year, interest in the image of Sharvili is growing more and more, it is evidence that the heroes do not die, their names and their memory are carefully preserved by the people and passed on from generation to generation.
Тарихда т1вар - ван аваз Рекъидач вун амукъда Залумрихъ гуж галугъда Чан Шарвили дидедин
In history, your name is If he doesn't die, you'll stay.
This will be a blow to the enemies -Mother's soul, Sharvili.
(Ganieva A.M., 1986.pp. 149-150)
The song "Kvantsin gada" ("Stone Youth") is close to the epic genre, tells how Timur's numerous troops came to the lands of the Lezgins in order to conquer them. On the way they met a shepherd boy. Timur ordered him to show the way to the spring. But neither threats nor tortures forced the young man to change his native land. Then Timur ordered to blind and kill him, but the young man turned into stone:
Вун душман я, маса гаф За ваз чир хьухь, лугьудач, Цихъ кьейитЬн куьн вири Булахдал рехъ къалурдач.
You're the enemy, nothing else.
Know I won't tell you, Though your whole army will perish From thirst, I won't show you the way to the spring.
In the lamentations of the Lezgins, as with all peoples, grief is expressed for the deceased, for orphaned children, mother, wife, sister, etc. Mourners address the deceased on behalf of close relatives, talk about their grief and suffering.
Although there is a certain scheme of construction for crying songs, an established tradition of using visual and expressive means, mourners in our time often improvise depending on the age of the deceased, the real circumstances of his death. Elements are introduced into the genre of lamentations a new way of life, a new vocabulary. So, everyday misfortunes, such as death from fire, car accident, electric shock, etc., have caused new cries to come to life, which are woven into the traditional expression of specific, real causes of death, strengthening their emotional tone.
A characteristic feature of crying among all peoples, including Lezgins, is that the deceased is endowed with all sorts of positive traits and virtues. He is the most courageous, and the most beautiful, and the kindest, etc. Back in the middle of the XIX century P.K. Uslar wrote: "Funeral lamentations in the whole Caucasus are of a general nature. Death is always reproached for interrupting the most magnificent and prosperous life, although in reality this life was filled with grief1' (Uslar P.K., 1868. p. 110).
In the Lezgian lament, the deceased is described as follows: "He is so huge and strong that his steps shake the earth, the heroic horse humbles under him, the mountains tremble from his cry" (Vagabova F.I., 1970. P. 57). Lyrical works of an elegiac nature, differing from funeral lamentations by a more extensive artistic context, which existed among the Lezgins in the war and post-war years, are dedicated to the fallen heroes: Еке къастар аваз рик!е Вилик - вилик фейи стха Ватан патал эцигна чан Кич!е тушиз кьейи стха
Большие мечты были у тебя.
Вперед ты шел, брат. За Родину ты жизнь отдал, Без страха погибший брат. (Ганиева А.М., 1983. С.84)
One of the rites common in the past among the Lezgins were the rites of summoning the rain and the sun ("Pesh apai" and "Gun"). The main place in them was given to choral songs-spells performed by children of both sexes (for the text of the song of the spell, see: Lezgi khalkdin maniyar, 1990. p. 8).
Nowadays, rituals that contain faith in the magical power of natural phenomena are carried out extremely rarely, they have lost their former function and turned into children's fun, often retaining elementsof traditional life in their content .Fairy tales still occupy a certain place in the folklore of the Lezgins in our time. It should be noted that nowadays, with the mass spread of means of communication (radio, television, computers, cellular communications, etc.), interest in fairy tales is weakening to some extent, although they have not left the everyday life of the people. And now folk tales are included in literature curricula, and nowadays children ask adults to tell them fairy tales. In the tales of the Lezgins, as well as other peoples, fiction dominates, the aspirations of the people about goodness and justice are embodied. Lezgin fairy tales are divided into three main groups: magical, animal tales and everyday. In fairy tales, heroes are subjected to various tests, perform difficult tasks, defeat devas, evil spirits and evil people. The traditional folklore of the Lezgins has had and is having a huge impact on their modern poetry and literature. An analysis of the works of modern poets and writers shows that in many of them, as in traditional folklore, folk wisdom, edification, and humor are embodied. Modern Lezgin poetry is a vivid example of the historical and genetic similarity of plots, motives, images of heroes, poetic techniques and even individual details and homogeneous verbal formulas. Along with the development of new classical constructions, modern poets are trying
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to preserve, preserve everything that the ancestral poetry of the people was rich in. Nurturing the traditional art of the word, its creators remain faithful to what was brought out by their predecessors. At the same time, modern poetry and literature is characterized by the emergence of new images, new relationships inspired by time.
The creative work of the most talented poet of the XX century is dedicated to the theme of the revolutionary struggle, the universal struggle for peace, the construction of a new socialist society, transformations in the culture and way of life of the people, unity and brotherhood of the peoples of the earth Suleiman Stalsky. Visual and expressive means language with while maintaining continuity with the traditional national (Lezgian and, more broadly, Eastern) poetics, the Lezgins have become a new phenomenon in the national poetic culture of the Lezgins (Suleiman Stalsky, 1948; Kelbekhanov R., 1970).
A notable trace in the history of the spiritual culture of Lezgin was left by the talented poet of our time Tagir Khuryugsky, whose work is distinguished by a variety of subjects. In his works, along with the traditional ones, the reader can see the themes that are consonant with the time, exciting them (Alimov A., Alimov M., 2004). Ideological and artistic searches in their entirety, in their entirety, from many positive aspects of which the moral credo of a contemporary is formed, are presented in the best poems of the Lezgian poets - A. Saidov, B. Salimov, Sh.-E. Muradova, A. Alema, H. Khametova, K. Musaeva, I. Huseynova, D. Abdullayeva (For details on this, see: Temirkhanova G., 1988; Gafarova G.G., 1988).
The post-October period is marked by the birth and development of professional Lezgin literature.
Modern Lezgian writers (Ya. Yaraliev, K. Medzhidov, A. Agaev, etc.) in their works turn to the life of the modern village, note the new in human psychology, which is born under the influence of new socio-economic and political conditions.
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