Geser Buryat heroic epic read in full. MHC lesson. "Geser - Buryat national epic." The poem praises fidelity to duty and stigmatizes treason and betrayal. "Geser" - a hymn of love for one's land

The horses flew snoring towards the sunset.
Fire and the Word have been worshiped for generations.
Gesariad keeps silence
About the secrets of your origin.
But descendants remember the riders wisely,
Where does the ancient light of goodness come from:
Great voice of the nomadic morning,
Immortal lips uligershina.

Geser is not only the central hero of the Buryat heroic epic, but also the most popular character in Buryat folklore. His image brings together the best human traits and qualities. The creators of the epic saw in Geser a hero with an exalted soul and good thoughts; Geser goes towards fate, filled with faith in the justice of his destiny. He does not change his decisions and always achieves his goal. Geser is faithful in friendship, but adamant in the fight against

enemies. According to the norms of customary law of the clan society, Geser buries the defeated enemy according to ancient custom with military honors. At the same time, the hero says: “I should not boast that I suppressed the mighty enemy,” since he understands that the struggle is not yet over. Since the defeated opponent retains a circle of his loved ones, they can try to take revenge on the winner.

	Sampilov Ts.S. Sketches for the epic Geser	Sampilov Ts.S. Sketches for the epic Geser	Jamsaran (Tib. Jamstrin). Mon- Golia XIX	Geser (Goviin lha). Mongolia XIX	Geser. Mongolia, mid-19th century.
Tibetan cursive manuscript of the Gesariad	Pages of the Tibetan manuscript of the Gesariad	To the 275th anniversary of the publication of the Mongolian version of the Geseriad. Booklet			Distribution map of the Buryat Geser
Sakharovskaya A.N. Abay Geser	B.M. S. Zydrabyn. Illustration for the first branch of the Geser epic	E. Purevzhav. Geser Khan is on his way	Shonkhorov Ch.B. Geser's victory over Gal-Nurman Khan	Shonkhorov Ch. B The birth of GESER on earth	Shonkhorov Ch.B.Last fight
	Dorzhiev B. Songs about the native land. 2005	Shonkhorov Ch.B. Lobsogoldoy turned Geser into a donkey	Shonkhorov Ch.B.Last fight	Shonkhorov Ch.B. Geser on the hunt	Shonkhorov Ch.B. Meeting of the Three Tengeri
Shonkhorov Ch.B. War between Western and Eastern Tengris	Shonkhorov Ch.B. Geser's fight with Mangadhai	Shonkhorov Ch.B. Geser's fight against the Gani-Buhe gazarai	Shonkhorov Ch.B. Geser rises to seventh heaven	Shonkhorov Ch.B. Illustration for the epic Geser	Sakharovskaya A.N. etc. Geser descends to the ground (batik)
		Morinhur	Geser. Mongolia, early 19th century	I. Garmaev as Geser. 1995

The bearers and keepers of ancient epic traditions were their experts - the Uligershins. They enjoyed great honor and respect from the people. A proverb speaks about the love of the Buryats for storytellers: “Uligershin is supposed to sit on a pillow-olbok, and a singer is supposed to sit on a hill-dobun” or “Uligershin is treated to foam and cockroach, the storyteller is seated on a carpet and a pillow.”
At the time of the productivity of the epic tradition, the Uligers probably knew, if not all, then many. Even now, through a survey of people of the older generation, the names of many storytellers who performed uligers back in the 20s and 30s have been revealed. But not every uliger expert could become a good uliger. They were the best in skill and knowledge, possessing the appropriate talent. The narrator had to have an impeccable memory in order to convey huge epics consisting of thousands of verses without omissions or distortions, as required by tradition. Uliger could not be shortened or remade in his own way. His performance was assessed by listeners who knew the content of the uligers well. The singer had to have a sonorous, beautiful voice, an ear for music, a good command of words, and most importantly, be able to be inspired, for he “is a kind of inspired poet.” The narrator seemed to transform into a hero, selflessly surrendering to singing; with his voice, special intonations, gestures or playing the khur, he conveyed the features of the events taking place in the epic. This state of inspiration came to the uligershin only in front of listeners, “in a certain stimulating environment,” as Ts. Zhamtsarano writes.
Thus, a good uligershin was an actor, musician and poet all rolled into one. Such demands were determined by life itself and came from the syncretism of ancient art. And therefore it is not surprising that “a good rhapsode’s listeners cry in strong tragic places and express the liveliest joy when the truth suddenly triumphs.
Buryat storytellers were not professionals. Often, ordinary workers, people from poor backgrounds, became interested in the art of uliger storytelling; many of them worked as laborers in their youth.
Storytellers perceived texts from childhood, mainly in the family circle. Most of them had parents or grandparents as storytellers. In addition to family, the source of the repertoire could be folklore experts from their own or neighboring ulus. Thus, Uligershin P. Petrov in his childhood heard folklore works from his father, as well as from a storyteller from the neighboring village, Tabaran Dorzhiev. Since there was no professional performing, there were no “schools” to become students of a storyteller. Over time, the storyteller’s repertoire, adopted through the family line, expanded and replenished. Most often this happened in places where people from different areas gathered.
According to epic scholars, the poetics of the Gesariad are highly organized, the verbal text is richly saturated with metaphors, hyperboles, antitheses and other artistic and visual means. The storytellers themselves had a good sense of rhythm and meter and used techniques for speeding up and slowing down the rhythm.

They skillfully varied various consonances, alliteration, internal and end rhymes. Storytellers often used such a technique as parallelism - psychological and syntactic. The epithet was distinguished by its freshness and novelty, although the stability of favorite definitions could be traced, as is typical for every epic: black and yellow colors are, as a rule, negative in nature, while at the same time the yellow color of certain objects - the hilt of a sword, the brush of a headdress - is perceived as positive. Positive colors are always white, red, silver.
Performing an uliger was not considered an easy task and was not only for entertainment purposes. Usually it was timed to coincide with some social event. Ts. Zhamtsarano noted: “Uligers are sung (sung) to achieve various benefits, for example, for the healing of the sick, for the sight of the blind, for success in trades, hunting, raids, while fishing, etc.; uliger contributes to success in campaigns.”
The production and ritual significance of the performance of the epic remained for a long time. The performance of uliger in the past was included as an integral element in the economic and everyday complex of the ancient collective. Thus, the specific purpose of the uliger is reflected in the ritual of hunting preparations of taiga hunters who were about to enter the world of forest animals. “Upon arrival at the hunting site, the Buryats performed certain rituals aimed at appeasing the spirits of animals and forests, on which one or another outcome of the hunt depended. Then, in the evening, before going to bed, the singer spread out his white felt in the hut (not stained with horse sweat), they placed lighted juniper branches on it, a cup of wine or milk, stuck an arrow into it and all night, until the first glimmer of dawn, they chanted protractedly their 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) 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 understood the meaning of their storytelling work. He noted that to perform the uliger, a suitable audience is required, which means listeners who know the content of epic poems and understand the intricacies of the art of storytelling. However, the aesthetic side of the performance of the epic became more tangible and gradually began to dominate in the performing process. In the old days, at a time of active epic creativity, uligers were performed at a certain time or in a certain setting. Thus, the storyteller P. Petrov did not perform uligers in the summer (more precisely, after the winter cold) and during the daytime. Usually the uliger was performed on autumn and winter evenings among odnoulusniks. Listeners perceived uligers as memories of the historical past of the people. The perception of the uliger was marked by depth and seriousness, its effect was “cleansing” and had an impact on the spiritual mentality of the listeners. At the same time, one should take into account the enormous artistic impression made from the execution of the uliger.

Let us recall that the UN cultural organization (UNESCO) has been assigning this status to various cultural sites since 2003 as part of its “Masterpieces of Oral and Intangible Cultural Heritage” program. The list of such status “intangible” cultural objects is compiled by analogy with the long-known List of UNESCO World Heritage Sites, which emphasizes material objects. Such as Lake Baikal, for example.

Russia is currently represented by only two objects on the UNESCO list of “intangible cultural heritage”. This is “the cultural space and oral creativity of the Semey - Old Believers of Transbaikalia” and the Yakut heroic epic “Olonkho”. If Geser is included in the list, then two of the three Russian facilities will represent Buryatia.

However, this event in the cultural life of the republic and the country gives rise to a number of questions: will this Russian initiative find a response in the UN? What exactly is the Buryat heroic epic “Geser”? To what extent is this epic actually Russian (Buryat), and not Mongolian or Chinese (Tibetan)? and what exactly should be recognized as the “intangible cultural heritage of humanity” - any one “main” text from more than ten quite voluminous (from 2 to 50 thousand verses each) Buryat Uligers about Abai Geser recorded by scientists or the entire cultural space of the Geseriad? That is, this is the performing art of uligershins (singing, acting, playing musical instruments, etc.), and customs, rituals associated with the performance of uligershins, and spiritual and material knowledge about nature and the Universe, transmitted in the epic from the depths centuries? Or each of the elements of this complex separately?

Answering these questions is quite difficult. Firstly, the legacy of the Geseriada has not been fully studied and, in fact, is unknown to the general reader either in Buryatia, or in Russia, or in the world. Secondly, it in itself is so rich and diverse that each of the ten most famous Western Buryat uligers about Geser can stand on a par with the Iliad, “The Knight in Tiger Skin,” “David of Sasun,” “Dzhangar” or “Olonkho” . And thirdly, there are also political disputes surrounding the epic of Geser, which touch upon problems in relations between Russia and China in a geopolitical sense and no less acute problems associated with the loyalty or disloyalty of the Buryats to the central government within Russia, the USSR.

Shot while trying to escape

A little about the history of the controversy surrounding the epic "Geser". Now it’s hard to imagine, but just 60 years ago, classroom and museum studies of Buryat folklore and literature were, in terms of danger, akin to the activities of a spy or extremist organization. There have been many broken lives, scientific and political careers in this area, and in some cases, the study of the epic ended in prison, exile, exile, and even the physical death of the researcher.

In this sense, the story of journalist Maxim Shulukshin, who became the main victim of the political struggle around the epic about Geser, is indicative. In 1948, Shulukshin was declared a “bourgeois nationalist” and imprisoned for 10 years for “anti-Soviet activities” in the Dzhidalager in Zakamensk.

The leading Marxist literary critic in Buryatia, Mikhail Khamaganov, who in the 40-60s played the role of the main political gendarme from philology, in the first book of the almanac “Baikal” (the printed organ of the Union of Writers of the Buryat-Mongolian Autonomous Soviet Socialist Republic) gave such a “party characterization” to his other colleagues in literary workshop.

“One of the weapons in the arsenal of the bourgeois nationalists was the feudal-khan epic Geser, distinguished by its reactionary, cosmopolitan content,” wrote Mikhail Khamaganov in 1949. – Bourgeois nationalists, dealing with Geser, strictly distributed functions among themselves, the so-called “sphere of activity.” The nationalist Shulukshin wrote lascivious articles, popularizing the cosmopolitan content of Geser. The latter also touched Sanzhiev (Buyanto Sanzhiev, executive editor of the newspaper “Buryad-Mongoloi Unen”, 1946 - secretary of the Buryat-Mongolian regional committee of the CPSU (b), professor-historian - S.B.), notorious for his ideological perversions nationalistic character in the field of history. Balburov (African Balburov, writer, in the 60-70s the editor-in-chief of the magazine “Baikal” - S.B.) openly admired the bloody, predatory campaigns of Genghis Khan, Belgaev (Gombo Belgaev, 1938 - Chairman of the Presidium of the Supreme Council B.-M. ASSR, 1941 - Deputy Chairman of the Council of People's Commissars of the B.-M. ASSR, 1946 - Director of the Buryat-Mongolian Research Institute of Culture and Economics - S.B.) and Zugeev (N.D. Zugeev, scientific secretary of Giyali - S.B.) took upon themselves mainly organizational issues related to the popularization of Geser.

At a time when such execution articles were published in the newly formed magazine of Buryat party writers, real shots were fired at “cosmopolitans” and “nationalists” in Dzhidalag. In 1949, Maxim Shulukshchin was shot by a convoy “while trying to escape.”

Why did Soviet propaganda suddenly suddenly change from plus to minus and the epic hero Geser, with whom Buryat Soviet poets compared the soldiers and commanders of the Red Army during World War II, suddenly became “an instrument of the ideology of Pan-Americanism and American imperialism”?

Pan-Mongolism and “self-reliance”

So, at the end of the thirties in Buryat-Mongolia, pan-Mongolism was declared enemy number one, which suddenly turned from a “progressive anti-imperialist (anti-British, anti-Entente) current” into a “bourgeois-nationalist movement in the service of the Japanese imperialists.” During these same years, the then Buryat political and cultural elite, both pre-revolutionary and party, was systematically purged. But with all this, the epic “Geser” was completely integrated into the context of socialist ideology.

By the mid-30s, the doctrine of the formation of a “world republic of Soviets”, based on the theory of “permanent revolution” of Leon Trotsky, finally gave way to another “Marxist” (in fact, Stalinist) theory of “building socialism in one single country” with the support on your own. Thus, the more specific doctrine of the formation of the vast Buryat-Mongol SSR within the USSR (with the annexation of the Mongolian People's Republic 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 grandiose Lenin-Stalin 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 the modern Buryat literary language, a new writing system for the Buryats based on the Latin rather than the vertical Mongolian alphabet. The lexical basis of the new artificially created language was not the Tsongolic dialect, almost identical to the Khalkhas, but the Khorin dialect, which was more distant from it.

At first, the Buryat heroic epic “Geser” was perfectly integrated into such a concept, whose “brand” had to be created and “promoted” at the international level as a unique asset of the new Buryat socialist nation. Fortunately, pre-revolutionary Buryat scientists Tsyben Zhamtsarano and Matvey Khangalov, as well as Soviet folklorists Sergei Baldaev and Ilya Madason, managed to scientifically record invaluable cultural material: a large number of different uligers about Geser. Fortunately, they still existed at the end of the 19th - beginning of the 20th centuries in the oral tradition of the Irkutsk Buryats, free from Buddhist influence. It was these scientists who managed to record and bring to us the last gasp of the dying religious and cultural tradition of the oral transmission of ancient knowledge about the earthly and heavenly (sacred) world.

Let us recall that all the known written (in the Mongolian script) East Buryat (Khorin) Uligers and the Mongolian version of the epic published in Beijing in 1715 existed in a greatly abbreviated form, in isolation from the original records of works about Geser and were clearly subject to ideological Buddhist indoctrination. In addition, they, unlike the voluminous poetic Western Buryat Uligers, had a small volume and were written in prose.

At the end of the 1930s, the international “pan-Mongolian and pro-Japanese spy organization” “connected” with Marshal Tukhachevsky himself was defeated, the leaders of which were allegedly the former Mongolian Prime Minister Genden, the first secretary of the Buryat-Mongolian regional committee of the All-Union Communist Party (Bolsheviks) Mikhei Erbanov and the USSR plenipotentiary representative in MPR, authorized representative of the Central Committee of the All-Union Communist Party of Bolsheviks in Mongolia Ruben Tairov. After which, in Buryat-Mongolia, the construction of a new Buryat culture “national in form and socialist in content” was continued. As different as possible from the general Mongolian culture.

Heroic-epic tales - uligers (ulger) are the main ones in the system of genres of oral and poetic creativity of the Buryats. In their form, these are large poetic epics, the average volume of which is from 2 to 5 thousand, and larger ones - from 9 to 20 thousand or more verses.

As a rule, numerous versions of the main monument of the heroic-epic creativity of the Buryats - the epic "Abai Geser" - are distinguished by their large size. One of its variants is “Abai Geser Bogdo Khan”, recorded in 1916 by the famous folklorist S.P. Baldaev from Uligershin A.O. Vasiliev (Alfora), contains more than 50 thousand poems. The uligers glorify the exploits of ancient heroes in the fight against the many-headed, many-horned monsters - Mangadhai and foreign invader khans for the freedom and prosperity of the tribal collective. Protection of the homeland and people (zones), subjects (Albata zones), their property - livestock and herds - from enemy attacks, the struggle for the betrothed is the leading theme of most heroic-epic works. The Uligers represent the pinnacle of oral poetry of the people. The artistic traditions in the epic works of the Buryats are particularly developed. The richness of the content, the graphic beauty of the word, its ancient strength and power, the harmony of the narrative have always captivated and fascinated people, and attracted the attention of scientists and folklore collectors to the Uligers.

Over many centuries, at the time of the productivity of the epic tradition, when folklore had a monopoly in spiritual and poetic life, the Buryat people created hundreds of uligers. (Currently, the collections of the KhVRK IMBiT SB RAS fund contain over 900 uligers, fairy tales, legends and traditions).

Their names, corresponding to the names of the heroes, represent a great variety. A comparative analysis shows that each tribal and territorial community had its own set of names of popular epic heroes. Thus, in Western Buryatia, among the Ekhirits, Bulagats and Khongodors, uligers were widespread: “Abai Geser Khubun” or “Abai Geser Bogdo Khan”, “Alamzhi Mergen”, “Altan Shagai Mergen”, “Kharasgai Mergen”, “Osodor Mergen” , “Erensey”, etc., and in the east, in Transbaikalia, among the Khorin people: “Geserey Tuuzha”, “Lodoy Mergen”, “Zhibzheney Mergen”, “Abaday Mergen”, “Manyelte Mergen”, etc. The most common and beloved of all divisions of the Buryat ethnic group there was an epic about the mighty hero Abai Geser.

If at the beginning of the 20th century. the living functioning of the epic was observed almost throughout the entire territory of settlement of the Buryats (Pre-Baikalia and Transbaikalia), partially preserved in certain regions back in the 50s, and in our time, with the disappearance of the traditional living conditions and way of life of the people, with the passing of talented Uligershins, oral The existence of the Uligers gradually faded away. And now there are no longer any genuine experts on the epic left in the Buryat uluses.

Folklore researchers familiar with the Buryat heroic epic have always noted its archaic nature and well-preserved mythological basis (Ulanov. 1963; Sharakshinova. 1987; Khomonov. 1976).

Academician B.Ya. Vladimirtsov, calling the Buryat Uligers “real epics,” explained their “amazing primitiveness” by centuries of development and the formation of hunters and trappers in a harsh environment (Vladimirtsov. 1923. pp. 14-16), which contributed to the preservation of numerous elements of ancient mythology, animistic and totemistic ideas, genetically rooted in the depths of primitive communal life.

The performance of uligers was originally a responsible matter in the old days and served not only to entertain listeners during leisure hours. It had industrial and ritual significance and was an integral element of the economic and everyday life of the ancient community. Ts. Zhamtsarano, who began his collecting activity in 1903 among the Western Buryats (the valley of the Kuda River and the upper reaches of the Lena River), wrote that “The Uliger is sung (sung) to achieve various benefits, for example, for the healing of the sick, for the sight of the blind , for success in trades, hunting, raids, while fishing, etc.; uliger contributes to success in campaigns" (Zhamtsarano. 1918. P. 17).

There was a deep belief in the “magical” power of the oral poetic word, in its effective meaning. Listening to the uligers was part of the ritual of pre-hunting preparations, as it was “a kind of powerful magic, a charm for attracting animals” (Zhamtsarano. 1918. P. 33) and was also common among the hunters of Transbaikalia - the Khori-Buryats, and among the Tungus in the upper reaches of the Onon. According to G.D. Sanzheev, who recorded in 1928, on the left bank, a number of large Uligers, Buryats, having arrived at the hunting site, “performed some rituals aimed at pleasing the spirits of animals and forests, on which one or another outcome of the hunt depends. Then in the evening, before going to bed, the singer spread out his white felt in the hut (not stained with horse sweat), they placed lighted juniper branches on it, a cup of wine or milk, stuck an arrow in it, etc., and all night, until the first glimpses of the morning dawn, they chanted their epic: without this hunting ceremony, according to the Buryats, could not be successful" (Sanzheev. 1936. P. IX-X).

The presence of the best performers at the raids was considered mandatory. They were distributed among the fires, and then generously presented by all participants in the raid. (Zhamtsarano. 1918. P. 33). M.N. also writes about beliefs that affirm the healing power of epic tales. Khangalov: in years when serious illnesses are rampant, it is especially useful to tell the uliger about the hero Abai Geser Bogdo Khan, since evil spirits are afraid of him. Listening to "Geser" before a long journey foreshadowed prosperity and success in business (Khangalov. 1959. T. P. S. 320). The Uligers listened during the long winter nights, during the months when the Pleiades were visible. It was forbidden to tell them in the summer and spring.

The aspect of sacredness has always accompanied performance practice. At the time of the execution of the epic, the invisible presence of its heroes was assumed, who, supposedly, could be awarded uligershin for the complete and correct transmission of events in the legend. The heroes of the Uligers, according to beliefs, were not ordinary mortals, but Tengri deities. At the beginning of the 20th century. there was still a belief that the uligers were created on the basis of actual events that had ever happened on earth, underground or in the sky, and that “the heroes are still alive” and the rhapsodist is responsible to them for the inaccurate rendering of the epic (Zhamtsarano. 1918. P. 18). The latter undoubtedly contributed to the sustainability of the tradition, thanks to which the ancient Uligers were able to survive to this day.

There was also a legend among the people about the high heavenly origin of the Uligers. These observations gave Ts. Zhamtsarano the basis to define the Buryat epic as something “sacred and majestic.” Academician A.P. , familiar with the folklore of the Turkic-speaking peoples of Siberia and the Mongols, also noted that their performance of the epic was surrounded by a peculiar, almost cult-like atmosphere of the supernatural.

The performance of uligers was sometimes accompanied by playing the khure - ancient bowed musical instrument. The voice of the singing storyteller-uligershin and sounds Hura, merging, they created a single harmonious whole. The tune corresponded to the local song tradition. The storyteller perceived him along with the uligers from his predecessors, teachers. Among the Western Buryats, this was observed more often on the left bank of the Angara, in Alari and Unga, and less often among the Bulagats of the valley of the Ida and Osa rivers. The archaic Ekhirit-Bulagat uligers, recorded by Ts. Zhamtsarano among the Buryats of the Kudinskaya Valley in Verkholenye, were performed without musical accompaniment. Appearance Hura testified to the breakdown of ancient performing traditions and the gradual dominance of the aesthetic function of the uligers. In the reproduction of the heroic tales of the epic, there were several main performing styles that corresponded to the local epic tradition. Thus, according to Ts. Zhamtsarano, the Ekhirit-Bulagat storytellers sang the Uligers from beginning to end “loudly and protractedly.” The performance was distinguished by its epic breadth, calmness, and leisurely pace. Along with it, there was a chanting recitative, as well as a simple telling, characteristic of “voiceless” storytellers. The third style was common among the Transbaikal Khori-Buryats: a prose story interspersed with vocal monologues of the characters and a choral second of their leitmotifs. The choral part, called tuureelge, sometimes accompanied by playing hure or scimitar.

The lively participation of the collective in the reproduction of the epic is a phenomenon characteristic of the Buryat uliger tradition, emphasizing its national identity. Among the Ekhirit-Bulagats, according to Ts. Zhamtsarano, it was expressed in the fact that “those present sing along, echo the rhapsode in the right places, that is, when meeting (ugtalga), when stopping (sayi daralga) and at the farewell of heroes (ude-shilge)" (Zhamtsarano. 1918. P. 25).

Thus, the uliger himself was sung solo, and the choir performed songs thematically independent from the content of the uligers, consisting of four to eight lines. IN ugtalga(lit.: “meeting”, implying a meeting with the heroes of the Uligers) - an invocation song addressed to the narrator, expressing the desire to listen to the Uliger; V seg daralga(lit.: “a bond, a ligament that connects the ends”) the listeners expressed concern for the fate of the hero-hero and wished him good luck in achieving his goal. Songs seg daralga were performed when the uligershin paused to catch his breath, wet his throat, and performed a specific plot-compositional role as ligaments between episodes, since, according to ancient belief, the epic song should not have been interrupted for the actions of the heroes to be successful.

Seg Daralga belongs to the category of “permanent places” in uligers.

Udeshelge(lit.: “seeing off”) sang at the end of the uliger. Its content was addressed to the heroes of the epic, who, according to ancient ideas, who were invisibly present during the chanting of their past exploits, were supposed to return to heaven. In it, the listeners expressed satisfaction with the performance, and the narrator expressed the desire that the heroic deeds and the uliger himself be considered completed, and that what was left unsaid would be sung tomorrow. These songs had their own melody, different from the uliger recitative.

The creators, keepers and performers of the heroic epic were the Uligershin storytellers. They enjoyed universal respect and love of the people, as evidenced by the proverb: “Uligershin is supposed to sit on a mattress-olbok, and a singer is supposed to sit on a hill-dobun.” They were people especially gifted artistically and musically, possessing an impeccable memory, so that, without omissions and distortions, as required by tradition, they could reproduce huge epics consisting of thousands of verses: the uliger could not be shortened or remade in its own way. The talented storyteller was an actor, musician and poet all rolled into one. And therefore, with a good rhapsode, according to Ts. Zhamtsarano, “listeners cry in strong tragic places and express the liveliest joy when the truth suddenly triumphs.” (Zhamtsarano. 1918. pp. 14-15).

According to their creative make-up and manner of performance, Buryat uligershins are conventionally divided into “canons”, who sacredly honor the previous tradition and strive to maintain accuracy in reproducing the learned text, and “improvisers”, in whose performing skills a personal origin, individual taste and character can be traced. The first, in the general opinion of Buryat folklorists, included Pyokhon Petrov (1866-1943), who lived on (Uiga Island) in the Alar (now Nukutsk) region of the Irkutsk region. He knew well not only the uligers, but also shamanic poetry, fairy tales, ancient morals and customs of the Buryats, the tradition of performing uligers, and believed that the heroes of the uligers continue to exist in the sky in the form of stars. From him in 1940-1941. I.N. Madason recorded one of the best Unga versions of the epic “Abai Geser” (12535 verses) (Abai Geser. 1960). He did not sing uligers (he had no voice), but recited them as ordinary poems. Possessing a phenomenal memory, he reproduced the uliger “without thinking and without stopping for a minute.” (Baldaev. 1961. P. 37).

The second type of performer includes another Unga storyteller P.M. Tushemilov (1877-1955), who demonstrated in his performing practice a more free, liberated style, a strong improvisational beginning, a desire for poetic innovation, for variation in the transmission of the traditional “text”, because of which the uligers in his performance to some extent lost traditional features and clarity of composition (Ulanov. 1968. P. 19).

P.M. Tushemilov came from a well-known dynasty of storytellers in the Angara region, had an extraordinary talent as a singer-improviser and enjoyed fame not only as a good uligershin, an expert in oral folk art, but also as a healer and clairvoyant. Close to P.M. Tushemilov's style of performance was that of the popular storyteller and singer A.O. Vasiliev (Alfor) (1887-1945), famous throughout the Angara region for the beauty of his powerful bass and storytelling skills. Uligers, like P. Tushemilov, sang and accompanied on the khur; traveled around the uluses, looking for competitors in competitions of improvising singers.

From him the largest version of "Geser" (more than 50 thousand verses) was recorded, distinguished by the originality and completeness of the plot development of the mythological (heavenly) prologue of the Gesariad.

At the time of the productivity of the epic tradition, the Uligers knew, if not everything, then many. In almost every ulus one could meet gifted storytellers, whose names are still preserved in the memory of old people. There were also women among them. SP. Baldaev, who has been collecting works of oral folk art for more than sixty years, mentions four hundred uligershins. The history of Buryat folkloristics includes the names of the best, those from whom we were lucky enough to record, starting from the end of the 19th century. until the 50s of the XX century, samples of uligers. This

P.P. Petrov, P.D. Dmitriev, P.M. Tushemilov, B. Zhatukhaev, P.S. Stepanov, N. Irincheeva, B. Zurbanov, M.G. Shobokleev, O. Khaintaev, S. Shanarsheev, Kh.N. Terentyev, I.I. Dagdanov, N. Tuzhinov, A. Gelenkenov and others, who lived in the Angara region; M. Imegenov, E. Shalbykov, L. Bardakhanov, B. Burlaev, B. Barnakov, N. Gulkhanov, A. Batlaev, P.P. Baldaev, A. Toroev and many others who lived in the valleys of the Kuda, Osa, and Ida rivers. Their repertoire, as a rule, consisted of ten or more large poetic heroic tales, not counting small ones of a fairy-tale nature. Almost all of them were Gesershins - excellent experts on the famous epic "Abai Geser".

In Transbaikalia the names of Bazar Galdanov (Khara-Shibir), Amprun Chingaev (Onon), Galsan Tykeev (Aga), Garmazhap Baldanov (Selenga), Da-shibylov and many others are known, from whom the Uligers were recorded by Ts. Zhamtsarano, P. Baldanzhapov, N Poppe et al.

A special place in this galaxy of names is occupied by Manshud Imegenov (1849-1908), a hereditary Uligershin from the Kukunut ulus of the Kudinskaya Valley. In 1906, Ts. Zhamtsarano wrote down from him the most archaic and original of all known national versions and variants of the Gesariad - the epic "Abai Geser-khubun", as well as an unparalleled separate cycle about the sons of the hero: Oshor Bogdo and Khurin Altai (first published in 1930). Undoubtedly, he was an outstanding performer, a mature master, who managed to reproduce, without listeners, especially for recording, the traditional Ekhirit-Bulagat epic song, preserving the pristine freshness, beauty, power and charm of the ancient monument. Over the course of seven days and nights, he sang 22,074 verses to the collector, without shortening the “framing” invocation and farewell songs, traditionally performed to listeners. Scientists unanimously recognize the high artistic merits of this version; it was this version that formed the basis of the latest academic edition of the epic (Abai Geser... 1995. P. 8-418).

Buryat storytellers were not professional performers. Usually these were simple rural workers - cattle breeders, farmers, hunters. Epic tales were perceived from childhood, mainly in the family, less often from fellow countrymen. Over time, the repertoire expanded. The creativity of each uligershin developed within the framework of the inherited regional tradition and had its own individual style and originality. Talented folk storytellers preserved the entire local uliger repertoire in their memory, creatively developing and enriching it.

According to its stage-typological characteristics, the Buryat heroic epic is classified into three groups: Ekhirit-Bulagat, Ungin and Khorin. The first two include the uligers that lived among the Western Buryats: in the Kudinskaya Valley, the Upper Lena (Ekhirit-Bulagatsky, Kachugsky, Bayandaevsky), along the valleys of the Ida, Osa, Obusa rivers (Bokhansky, Osinsky), in the Angara region (Alarsky, Nukutsky), regions Irkutsk region, and in the third - the uligers of the eastern Buryats living in Transbaikalia (Buryatia, Chita region). In all three groups there are similarities in plot structures, motifs and images, since they are united by a common mythological fund and a single all-Buryat epic tradition.

The Ekhirit-Bulagat epic is considered the most archaic, since the features of the hunting way of life of the creators of the Uligers predominate in it; elements of totemism, animism, various cults, motifs of twinning with animal characters; werewolf (metaphorism), fairy tale motifs. In his stories, two central themes were developed: matchmaking and the hero’s marriage; fight against Mangadhai monsters and alien enemies.

An example of an uliger embodying the first theme is “Aidurai Mergen” (1868 verses), recorded by Ts. Zhamtsarano in 1908 from B. Burlaev in Verkhnelensky district. Its plot structure consists of the following links: 1) 15-year-old Aidurai Mergen is killed while hunting by a woman with zoomorphic features; 2) The horse advises the hero’s sister, the maiden Aguy Nogon, to bring the resurrection maiden - the daughter of Ezhi Munkha Khan; 3) Agui Nogon, dressed in men's clothing, hiding his brother's body in a mountain cave, sets off on a long journey; 4) Overcomes various obstacles: cold, heat; sometimes turns into a bird, sometimes into an animal; fraternizes, having saved them from death, with ants, frogs, a huge bird, and a dog; 5) Successfully passes the deadly tests arranged for the “groom” by the bride’s father thanks to the help of his brothers-in-arms and his horse; 6) Returns home with his “wife” - the resurrection virgin, and she goes into hiding; 7) The Khan’s daughter revives Aidurai Mergen; 8) The heroine returns home when her brother’s twins are born. A brother marries his sister to a stranger.

This type of uliger is very popular in the Ekhirit-Bulagat epic. The plot development of the theme of heroic matchmaking is distinguished in them by great diversity and at the same time by the stability of the main motives: the death of the hero, the campaign for the resurrection maiden, overcoming obstacles; struggle for the bride; reviving the hero. This is the simplest, one-part plot structure. The main character performing the feats is the heroic maiden - the hero's sister, and not the hero after whom the work is named. This plot-narrative type: “the sister gets her brother the betrothed-resurrectionist” is considered the earliest in the system of heroic-epic creativity of the Buryats. It is implemented in uligers: “Aidurai Mergen”, “Erzhen Mergen Khubun”, “Yagur Mergen Khubun”, “Altan Segse Khubun”, etc. The theme of fighting monsters and foreign enemies is usually absent from them or is a late addition. The main idea expressed in them is the struggle for the founding of a monogamous family, the establishment of exogamous marriage, characteristic of the heyday of clan society, which affirmed the primacy of men in the family and clan.

The theme of the fight against Mangadhai monsters and foreign enemies is developed in the Ekhirit-Bulagat epic with the intensification of the actions of the male hero and the weakening of the role of the sister ("Alamzhi Mergen", "Buhu Khara Khubun", "Gunkhabai Mergen", "Erensey", etc. .). The number of uligers is increasing, where the hero gets himself a wife. With the development of the uliger genre, with the gradual advancement of the hero-warrior, protector of the family and clan, the theme of matchmaking loses its leading role and becomes one of the elements of the epic biography of the hero. The plot structure of the narrative becomes more complex, and multi-component uligers appear. An example of a typologically mature epic is the Ekhirit-Bulagat version of the epic “Abai Geser-khubun” (recorded by Ts. Zhamtsarano from M. Imegenov), which traces the process of biographical and genealogical cyclization (the tale of Geser and his sons Oshor Bogdo and Khurin Altai). But in general, the features of the “hunting” epic, due to its proximity to mythological origins, dominate in the ekhirit-bulagat epic. The role of mythical zoomorphic, zoo-anthropomorphic characters - assistants, patrons, opponents of the hero - is still significant in it. The motives for the “difficult” assignments of the father of the bride are stable; fraternization with animals; helping them in wedding trials; supernatural abilities of the hero (magic and werewolf). The opponents and enemies of the hero are mainly mangadhai monsters with an incredible number (13, 33, 67, 77, 95, 108, 300, 500, 600, 1008) heads (sometimes horns). They destroy the hero's property and kidnap his wives. The hero goes on a campaign

alone, he has no warriors, bators. His struggle with the enemy is depicted in the form of a heroic martial arts.

In addition to the two main themes, the Ekhirit-Bulagat epic also traces the relationships between brother and sister, uncle and nephew, husband and wife, reflecting conflicts between members of the patriarchal family and clan. For example, in the uliger “Alamzhi Mergen” two plot-narrative types are realized: “A sister gets her brother a resurrection wife” and “Uncles ruin a nephew in order to take possession of his property,” relating to different cultural layers. Depending on evolutionary development, the attitude of a sister to a brother in uligers can be either positive or negative, hostile. Thus, in “Kharasgai Mergen” and “Shonkhodoy Mergen”, sisters kill their brothers in order to get married, but are subsequently severely punished for this by them, just like the traitor Untan Durai, the wife of Erensei (“Erensey”), who, having betrayed her husband, goes to his enemy - Mangadhai. The son who escaped death kills not only the Mangadhai, but also his mother. Geser subjects his wife Gagurai Nogon to a painful execution for treason. These uligers clearly demonstrate the struggle against the remnants of the maternal clan, the essence of patriarchy, which places the power of men above the blood ties that once closely bound members of the maternal clan.

These are the main features of the archaic Ekhirit-Bulagat epic, which represents the “lower layer”, the “original stage” of the heroic-epic creativity of the Buryats, but in the richness of motifs and images, surpassing all other Buryat traditions (Sanzheev. 1936. P. XXXV).

Such uligers were distributed mainly in the Ekhirit-Bulagatsky, Bayandaevsky, Kachugsky, partly Bokhansky, Osinsky districts of the Irkutsk region (Ust-Ordynsky Buryat Autonomous Okrug).

A different type of uliger existed in the Angara region: the valleys of the Ida and Osa rivers, the Alari and Unga steppes. Their recordings, made only on the left bank of the Angara since the 80s of the 19th century, revealed a rich folklore tradition that flourished there in the past. This region can be called the protected region of the Buryat epic: the total number of uligers collected there since the end of the 19th century. until the end of the 50s of the XX century. M.N. Khangalov, Ts. Zhamtsarano, G.D. Sanzheev, I.N. Madason, SP. Baldaev, A.I. Ulanov, N.O. Sharakshinova and others, consists of about a hundred texts, including twenty versions of the Geseriad, some of which have been published in recent years (Abai Geser. 1960; Burchina. 1990; Abay Geser... 1995).

The heroic-epic tales that existed on the left bank of the Angara were allocated to a special group called the “Unginsky epic” by G.D. Sanzheev (Sanzheev. 1936. P. 58.), since he recorded in 1928 from the storytellers N. Tuzhinov, A. Gelenkov and Sh. Savranov in the uluses of Srednyaya Kuyta and Bulut (the valley of the Unga River) five fairly large uligers: “Altan Shagai”, “Bulgan Tol-goi khubun”, “Five-year-old Tolei Mergen”, “Late-born Ulandai Mergen”, “Ere Tokholei Mergen”, volume from 1550 to 4314 verses and three small ones “Maiden Ereg Dureg”, “Maiden Alag Bulag”, “Old Woman Uzhaa” " - volume from 150 to 518 verses (KhVRK IMBiT SB RAS, G.D. Sanzheev fund, inventory No. 2224) differed in their genre and typological characteristics from the Ekhirit-Bulagat Uligers. The scientist believed that the Unginsky epic “represents the completion of the entire Buryat epic, and the Bulagat epic is its lower layer, its initial stage” (Sanzheev. 1936. P. 25). The bearers of this epic tradition, along with the Bulagats, were those who moved to this region in the 15th-17th centuries. from feudal Mongolia, the Khongodors, Zungars, Ikinats and Ashebagats, whose epic repertoire, reflecting developed social relations, undoubtedly influenced the local one, which was basically identical to the Ekhirit-Bulagat one. The formation of the Unga epic took place during the period when patriarchal-feudal relations began to take shape among the steppe Bulagats of the Angara region, who had already mastered cattle breeding (XIII-XVI centuries). (Ulanov. 1957. pp. 112-114, 159-160; Ulanov. 1963. pp. 204-205; Sharakshinova. 1968. pp. 30-34) and the ideology of the dominance of the paternal family, the era of military democracy, found their natural reflection in it.

Epic breadth, monumentality, pictorial richness and variety of content, complexity of form are the hallmarks of Unga's heroic epics. The thematic and genre range, plot and event coverage in it is much wider than in the Ekhirit-Bulagat and Khorin epics. For the most part, these are multi-component, multi-plot works, consisting of 2-3, 4-5 and 6 moves (parts), with the exception of the multi-cyclic (genealogical cyclization) heroic epic about Geser.

If the main content of the Ekhirit-Bulagat epic was the heroism of the struggle for the narrowed one and the “military” theme was mainly associated with it, then in the Unginsky heroic pathos switches to the fight against predatory raids and thefts, for the release and return to their homeland of captive household members, subjects, captured property, and marriage, the founding of a family, which was a super task in the archaic tradition, fades into the background, becoming only an “initial situation”, a necessary condition for the beginning of heroic activity (Sanzheev. 1936. P. 37). Thematically, the Ungin uligers are divided into four groups: 1) about heroic matchmaking, the fight against the Mangadhai, foreign khans and bators; 2) about the hero’s struggle with blood relatives (about intraclan and family conflicts); 3) about the struggle of heroic maidens with the Mangadhai monsters (about the matchmaking of the Mangadhai); 4) about revenge on the horse-bator who destroyed the herd.

The combination and artistic realization of two themes in one work is a characteristic feature of the Unga epic tradition, where the first part of the narrative is usually devoted to matchmaking and the hero’s marriage, and the second to the fight against enemies. The connecting thread between both parts of the majority of uligers is the plot (theft, theft of herds and herds, the destruction of the hearth; the removal of household members and subjects; sometimes a challenge by the hero’s enemies to a duel), which finds its resolution in the finale of the second part (the hero’s destruction of the enemy, the return of the stolen , restoration of peace and tranquility). The plot structure of the Unga Uligers consists mainly of the following motives: leaving home to inspect herds and herds (sometimes the departure is not motivated by anything); detection of shortages, theft of herds and livestock. Option: the herds and herds have multiplied in countless numbers and the hero is saddened - who will the property go to? If the hero is a childless old man, then sadness over the fact that there is no one to take revenge on the invaders and return the stolen property; asking childless spouses from patron deities for offspring; the miraculous conception and birth of their son; naming a child an old man; the wonderful growth and maturity of the young hero, childhood exploits; the young hero acquiring heroic status (asking the heavenly patrons for a horse, weapons and clothing; taming, riding around a heavenly horse; boasting of the rider and horse’s heroic strength); the hero's decision to find his betrothed and get married; determining her name and location; preparations for the hike and heroic excursion; heroic riding.

Overcoming obstacles: the endless sea, impenetrable thicket; fiery lava; climbing to the highest mountain peak, where there is “living” water (lit.: “black”, that is, clean, transparent, life-giving water of eternity - munheen hara uhan) and medicinal tree (plant); the revival of people and animals who died on the mountainside with this water; crossing the edge of heaven and earth (the edges where heaven and earth meet); rise to heaven; descent underground.

Meetings and adventures along the way: the punishment of the bators who boasted of their imaginary superiority over the hero; providing assistance to animals (roe deer, birds) and fraternization with them, to a foreign bator and fraternization with him; fraternization with heroes defeated in battle; the death of the hero on the way to his betrothed (from exhaustion, from an arrow from an opponent in matchmaking); the hero is thrown into a dungeon well (evil, treacherous uncles, brothers-in-law, older brothers); turning the hero into stone; revival of the hero (horse; heavenly cuckoo maidens), betrothed-resurrectionist, three foreign healers (Tibetans); the hero himself reviving the bators he killed; the horse obtains the betrothed resurrector for the deceased hero; substitution of the bride (marriage to an imaginary betrothed); fight for the bride (competition with rivals in shooting, horse racing, wrestling); marriage and return to homeland; kidnapping of wife on the way to home; the hero’s home destroyed by the enemy; household members in captivity of the enemy (Mangadhai or foreign heroes, khans); going against the enemy; the birth of a son (or twin sons); the hero’s struggle and victory over his opponents (Mangadhayas and foreign warriors). Destruction of the Monster of the Black Woman - the ancestor of the Mangadhai; the hero's young son asks his mother where his father is; goes on a hike after him; assistance to the hero from his brothers-in-arms, heavenly patrons; sons; search and destruction of the enemy's soul; the pursuit of the soul (the chain of transformations of the pursued and the pursuer into birds, fish, grain, plants and people); destruction of an unborn baby (one or two) that fell from the womb of the enemy's wife.

As a rule, the first part of Unga's epics, dedicated to the theme of heroic matchmaking and marriage of the hero, is distinguished by the richness and variety of plots and motifs, and the complexity of the composition. The evolutionary development of uligers at a new stage occurs due to the expansion of their plot structure, a qualitatively different interpretation, rethinking, or replacement of traditional key motives: obstacles on the way, road meetings, twinning, the death of a hero, marriage trials and the introduction of new motives and episodes (sometimes plots) , mainly from a fairy tale, as a result of which the epic narrative changes its tone, acquiring the character of entertainment, playing out the miraculous, which, however, does not change the genre specificity of the works. The main theme in uligers remains heroism, and not fairy-tale fantasy.

Unlike the archaic tradition, the struggle for the betrothed in the Unga epic is waged by the hero himself. The plot type “Sister gets her brother a resurrection wife” is extremely rare (only in two uligers: “Khan Segse Mergen”, “Bogdoni Khubshe Mergen and sister Boylon Gokhon”) and functions in uligers related to the theme of the struggle of blood relatives.

The motivation for going out to pick up a bride is also being rethought. Marriage is justified by the need to have an heir to property, an avenger and a successor to the business in the event of one’s death. The hero learns the name and location of the distant bride either from his mother, daughter-in-law (brother’s wife), or from the yellow book of fate-zayan (zayanai shara nomo; pudar). Usually this is the daughter of a khan or a celestial being, who has the ability to “resurrect the dead, enrich the impoverished,” as well as the art of transformation (werewolf). Along with the mythological in the Unga epic, quite realistic features are also idealized in the images of women: beauty, wisdom, devotion to her husband, art in sewing, expressed by the typical formula: “I sewed ten [clothes] with collars from palm-sized silk; from finger-sized silk I sewed twenty [robes] with collars."

In most uligers, the hero gets his betrothed in competition with other suitors, having proven his superiority in wrestling, archery, and horse racing. Sometimes the future father-in-law gives the groom a disastrous task. Thus, the hero of the uliger of the same name, Khukhosei Mergen, having won three competitions, is forced, by order of the khan, to go on a campaign for yellow bile. (ballhulehen) monsters Gal Dulme Khan (lit.: Khan of Fire and Heat).

On the way, he meets the alien warrior Khuherdey Mergen, who died in the fight against this monster. He lies under a pine tree, where the bones of other bators lie white. The hero turns into a hawk and forces the ravens flying past to pour “living” water from their beaks onto Khuherday Mergen. The hero comes to life, and with him all the dead bators and warriors. The pine tree becomes evergreen. Those who are alive thank Khukhosei Mergen and wish him to defeat Gal Dulme Khan, whom they could not cope with.

The hero fraternizes with Khuherdey Mergen and, at the head of 33 bators and 300 warriors, heads towards the monster. Before the battle, turning into a fly, he looks out for the situation in the enemy’s camp, and then, with his squad and army, defeats the bators and warriors of Gal Dulme Khan and enters into battle with him. The monster radiates fiery heat and flames at him. Khukhosei Mergen defeats the enemy with the help of heavenly deities - the head of the western (right-sided) celestial beings Esege Malan Tengri and his creator-patrons, who strike the monster with lightning, unleash stone hail and bloody rain.

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

The hero of the uliger of the same name, Arnai Gerdei Mergen, overcomes the endless sea in his campaign for his betrothed. A horse that has died from fatigue is revived by “living” water brought from an inaccessible mountain peak by a sister bird. He manages to slip through the momentarily diverging edges of heaven and earth to the other side, where the bride lives. His future father-in-law subjects him to tests: he sends him to a cold and then a hot barn; proposes to pierce with one shot three-layer felt, a black stone the size of an ox, seventy sleighs of firewood and get into the hole of the golden disk. On the way to the house, the wife is kidnapped by Mangadhai. The hero goes underground after her, turning into a huge snake Abarga, defeats the monster with the help of his hero-brother. Then, protecting his wife, he rises to the sky, turning into a hawk. Thanks to his agility and speed, he can withstand a duel with a celestial being who seeks to strike him with thunder and lightning. The discouraged celestial gives his daughter in marriage to the hero.

The hero of another uliger, Ere Tokholei Bator, in the fight for his betrothed, first destroys with a bow shot the entire army of his rival - the son of the 105-headed Biting Yellow Mangadhai (Zuudag Shara mangadhai) - Erhe Boyrek khubun, and then defeats him in single combat.

Similar stories on the themes of matchmaking and the hero’s marriage, where the struggle for the betrothed continues to be interpreted as a heroic, military feat, and the traditional motives of overcoming obstacles, twinning, and marriage trials take on more realistic outlines, are characteristic of the Unga tradition.

Compared to the previous one, they show an increase in the range of the hero’s exploits and an expansion of the spatial boundaries of the hero’s locus. The action sometimes takes place not only on the earth, underground, in the sky, but also outside the earth and sky.

The heroes of such stories often leave for their betrothed only after acquiring heroic status. Usually these are late-born sons of elderly parents (“Khukhosei Mergen”, “Arnai Gerdei Mergen”, “Ulandai Mergen”, etc.).

The heroes of the uligers with a purely fabulous development of the theme of heroic matchmaking are, as a rule, the youngest of the three brothers: fools and slobs, promising idlers (“Bulgan Tolgoi Khubun”, “Altan Shagai and Mungen Shagai”, “Khokhor Bogdo Khan”, “ Erbad Bogdo Khan").

Thus, the low-status hero of the uliger of the same name, Bulgan Tolgoi khubun (lit.: “Sable-headed fellow”), the only one of the brothers, fulfills the will of his parents (to pray in three nights at their graves) and receives magic mirrors, three Savras horses and a parental blessing. Thanks to this, the slob wins the grooms' competition (he tears the bride's golden ring from the sky after jumping on a horse) and marries the khan's daughter. The snotty man reveals his hitherto hidden heroic appearance only after he is chosen by the princess as her husband.

The second part of this uliger is dedicated to the heroic struggle of Bulgan Tolgoi khubun with his wife kidnapper - Mangadhai, living in the underworld.

In the uliger "Erbed Bogdo Khan" the eyes of an old father disappear, and then his three daughters. The eldest sons, having gone in search, become victims of the cunning of road pests. Only the youngest son, the fool Paakli, returns the loss and marries a powerful sorceress, the daughter of a celestial being. Having overcome the magical barriers that she established on the border of her possessions (malicious hagshaa witches, iron heroes, hawks, magic signal strings), the hero removes the golden ring from the sorceress sleeping in her palace.

The fool Paakli magically turns out to be stronger and more cunning than the kidnapper and she, having failed, becomes his wife; returns her father's eyes, placed in a vessel with living water, removes the spell from the sisters, whom she had previously turned into guardians: witches-hagshaa.

Another type of plot development of the theme of marriage is realized in the epic “Altan Shagai Mergen”, popular among Western Buryats. A brief summary of one of its many variants, recorded in 1928 by G.D. Sanzheev from the Unga storyteller N. Tuzhinov (volume 3674 verses) comes down to the following:

Altan Shagai Mergen receives a challenge to a duel from Nine fellows Gabshuu - the grandchildren of the Black Woman Mangadhai (Eme Khara mangadhai - lit.: "Black Female monster"). Having postponed the duel for 10 years, the hero goes after his betrothed, the daughter of Bayan Monhe Khan, who knows how to “revive the dead and enrich the impoverished.” On the way, he dies from the arrow of a foreign hero - a rival in matchmaking, but manages to mortally wound him too.

On the advice of the magic cuckoo, the hero's horse turns into a wonderful pacer in the khan's herd and kidnaps his betrothed resurrectionist. She revives Altai Shagai Mergen and, turning into a golden hawk, flies home.

Altan Shagai Mergen revives his opponent with a wonderful stone and fraternizes with him. Arriving at Bayan Monhe Khan, he wooed his daughter. The hero's betrothed sends a maid to see what the groom is like. She deceives the princess: she says that he is old and ugly. Then the bride turns into a hawk and flies away.

The cunning maid offers the confused khan and khansha to wash her in a bathhouse, perfume her, dress her in princess clothes and marry her instead of her daughter.

The hero marries an imaginary betrothed. On the way to the house he makes a stop. The wife walks at the khan's feasts. The princess arrives and, having assumed her real appearance, sews clothes for Altan Shagai Mergen. The maid's deception is soon revealed, Altan Shagai executes her and unites with his true betrothed.

The emergence of new conflicts in the development of the matchmaking theme - the substitution of the betrothed, the struggle between the maid and the mistress, the kidnapping of the princess by a horse instead of the traditional “difficult tasks” given to the groom by the bride’s father; The struggles of the heroic maiden - the hero's sister for his betrothed-resurrectionist - significantly change the tone of the story, giving it the character of entertainment. The image of a deceitful, arrogant servant who does not shy away from intoxication creates a number of comic situations in him, introducing a living stream of folk humor into the heroic content of the uliger.

Instead of a chain of interconnected motifs and episodes that consistently reveal the theme of heroic matchmaking in the archaic tradition, in Unginsky the artistic structure of the uliger grows, branching into completely independent plot-thematic blocks (types): “The horse gets the hero his betrothed-resurrectionist,” “The maid deceives his betrothed.” and marries the hero,” which are freely “edited” into the plot composition of other Unginsky uligers (“Five-year-old Toley Mergen,” “Altan Gasuu,” “Ermey Bogdo Khan,” “Haidar and Buidar”). In addition to them, the following plot block functions in the Ungin epic: the hero, in the guise of a poor wandering shepherd, becomes the husband of the khan’s daughter and fights with the khan’s deceitful brothers-in-law, who appropriate his merits, which is realized in the uligers: “Altan Shagai and Mungen Shagai,” “ Altan Gasuu" and others.

The change in the traditional motives of twinning and testing the groom in “Altan Shagai Mergen” indicates their transformation towards a realistic reflection of reality, overcoming mythology. The archaic motive of the hero’s death also changes in it, which forces him to act not from his sister-hero, as in the Ekhirit-Bulagat epic, but from his horse.

The weakening of heroic motives in the story of the marriage of Altan Shagai Mergen is compensated by their strengthening in the second part of the tale, where the hero fights the Mangadhai - the Nine fellows of Gabshuu, who, having violated the agreement, in the absence of the hero, attack his possessions, steal cattle and herds and take the household into captivity and subjects. Altan Shagay goes on a campaign against his enemies. On the way, Boybor defeats the Three Young Men - the sons of the Black Baba-man-gadhaika.

At the foot of Mount Oriel Nine fellows of Gabshuu are waiting for the hero. Altan Shagay Mergen enters into battle with them, but the forces are unequal. The heavenly deities send his brother-in-arms to help, but even together they cannot defeat the Nine Young Men of Gabshuu. Then the celestials predetermine the birth of two twin sons to the hero’s wife. They acquire heavenly horses, weapons, clothes and, having become heroes, go on a campaign for their father.

Together with his brother-in-law and his sons, the hero defeats the Mangadhai in single combat, burns their corpses, and scatters their ashes. Marries his sons to beauties who helped him; frees his brother and daughter-in-law from captivity, destroys the nest of the Mangadhai led by their ancestor - the monster Black Baba, and returns to his homeland, taking his property and subjects. Lives with his sons calmly and happily.

A similar plot development of the fight against the Mangadhai is typical for many Unginsky uligers, which tell about two (less often three) generations of heroes (father - son - grandson), where the decisive role in the outcome of the battle belongs to the sons - defenders and successors of the father’s work, although help is provided by his heavenly patrons, brothers-in-arms, and sometimes well-wishers from the enemy camp.

The main opponents of the heroes in the Ungin epic, along with alien warriors, as in the previous tradition, continue to be the Mangadhai monsters, the ancient mythological images of which in the heroic tales of the Buryats are presented at different stages of evolutionary development.

In the archaic Ekhirit-Bulagat epic, these are terrible, fantastic monsters with an exaggerated multitude (tens, hundreds, thousands) of heads and pole-shaped horns, personifying their strength and vitality. In the absence of names, mangadhai differ in the number of these attributes, as well as epithets that define their characteristic features: 108-headed Biting Yellow mangadhai (Zuudag shara mangadhai), 13-headed Asurai Yellow mangadhai (Asuurai shara mangadhai), where the meanings of the words are: "Asuraic (Sanskrit. asura- demon; evil spirit), "Zuudag" - biting, biting" (Buryat, zukha- grab with teeth; hold in teeth; bite [about a dog]), indicate the hostile nature of these images to humans.

Mangadhai are capable of drawing a stream of air into their huge mouth, indiscriminately swallowing everything living and inanimate. Crowds of people, herds of horses and herds, carts with firewood, carts with flour, etc. usually emerge from the inside of the monster killed by the hero. Sometimes the Mangadhai are depicted as cannibals living in the underworld (“Osodor Mergen”). The images of Mangadhaya women bizarrely combine zoo-anthropomorphic features. This is the old Mangadhai woman - the daughter of the 500-headed, 50-horned Old Mangadhai, who has “a very white head, a large sharp-edged chin, a single tooth in her mouth, a single eye on the top of her head and a sharp white beak” (Abai Geser the Mighty... 1995; verses 5433-5437, 7212-7222.) The constant attribute of these old women is the “thousand-fat” white leather scraper (mitan sagaan hederge). Spellbound by her mistress, she, trying to destroy the hero, is able to pursue him, sweeping away all obstacles along the way.

Demonic old women also act as “travel pests”, treating the uliger heroes with poisoned (wormy) tea. In the Ekhirit-Bulagat version of the Geseriad, they fight the hero, avenging the death of their many-headed Mangadhai relatives. Through cunning intrigue and deceit, one of them turns Geser into a horse and takes his wife to her son.

Mangadhai in uligers are always related by kinship and form one large family, headed by the eldest maternal grandmother in the family (yehe kholkhi tooday), or an aunt who keeps the souls of monsters. They feed their sons and grandchildren, exhausted in the fight against the hero, with their breast milk.

In the Unga epic, the ancestor is the mighty Eme Khara mangadhayka (lit.: Black female monster), who has anthropomorphic features: eyelids falling over the nose, hanging down on the navel of the chest, a thick belly falling to the knees. The hero usually finds her dressing elk skins with a black iron leather grinder-scraper, with which she lifts her eyelids to see the newcomer, and then tries to kill her, avenging her dead relatives. Like her archaic predecessors, the monstrous Baba is evil, aggressive and possesses not only enormous physical strength, but also magical abilities (with a blow of her leather grinder she turns uliger bators into wild animals). With great difficulty, the hero manages to defeat her in single combat, often thanks to the help of his sons and brothers-in-arms.

According to SY. Neklyudov “this class of characters goes back to the images of demonic matriarchal “mistresses” of archaic mythology or varieties of the chthonic mother goddess...” (Neklyudov. 1984. P. 115).

In the process of development of the uliger genre, there is a gradual evolution of the images of Mangadhai towards anthropomorphization. Their multi-headedness becomes rudimentary. In the later records of the Unginsky uligers, there is a tendency to depict multi-headed monsters in the form of comic, stupid simpletons (some of their heads tell fairy tales and uligers, others sing songs, the rest ask riddles). In the Ungin epic, the Mangadhai are mainly called “khubuns” (hubuun- son, guy, well done, daredevil), that is, well done, daredevils - descendants of the Black Woman-monster. In their actions and deeds, their way of life, they do not differ from foreign enemies: heroes and khans; live in palaces, have an army, bators. They oppose the hero not individually, but together and differ only in their number and nicknames: Three young men Boybor (Gurban boybor khubuud), Nine Guys Gabshuu (yuhen gabshuu khubuud), where are the definitions "boybor", "gabshuu" have meanings: dexterous, nimble, nimble, agile. The single-headedness of these Mangadhai is especially emphasized.

These representatives of the hostile world in the uligers usually live in the mythical country of Khonin Khoto, located in the north, northeast, in a deserted windy land from where there is no return. In some uligers, mangadhai appear from water (river, sea) or the underground (lower) world (dodo zambi). In the archaic Ekhirit-Bulagat version of the Geseriad, multi-headed monsters are located in the dark, northern part of the sky, and in the Ungin versions of the epic, which are later in their formation, the story is told about the appearance of the Mangadhai on earth from the body parts of the head of the evil eastern (left-sided) celestial beings, Atai, dropped from the sky Ulan Tengri (Abai Geser... 1995. Poems 4545-4554; Burchina. 1990).

In the Unga epic, the fight against the Mangadhai is no longer random, as before, but is an integral part of the heroic deeds of the hero, who defends his property, family and tribe from their predatory raids. Much less often, the reason for the fight is rivalry in matchmaking or kidnapping of wives.

Detailed formulaic descriptions of this struggle (martial arts, group fights, duels with archery, battles with the participation of warriors and combatants) occupy a significant place in the heroic-epic tales of the Ungin people. The military qualities of bators and mergens are clearly manifested in them. The epic idealizes male heroes, whose superior qualities are determined by the epithets included in their names: baatar- hero, warrior; mergen - lit.: marksman; khubuun- in a figurative meaning - a daredevil, a young hero, a young warrior; era- lit.: male, man. In the epic it is used to mean: strong, courageous, brave man, warrior.

Along with heroic martial arts, where the outcome of the battle is decided by superior physical strength or with the help of weapons, the hero uses his supernatural powers and abilities (magician, sorcerer, werewolf), which his opponent also possesses. This usually happens in the fight against a particularly strong invulnerable monster, the Mangadhai, which can only be defeated by first destroying its “external” soul. (amihulde khoyor- lit.: breath and [vital] force, energy) stored in an inaccessible place; or by hitting a vulnerable “point” on the enemy’s body, which is the center of his soul. In multi-headed Mangadhai, this is usually one "main" whitish head located in the middle of its many heads, or a birthmark between the shoulder blades on the back, or the pupil of the "central" white one of the monster's hundreds of thousands of dorsal eyes. In the Ekhirit-Bulagat version of the Geseriad, the analogue of the soul of an invulnerable baby, the son of a monster, is a miraculous thread stretched from the sky through which water flows, saving him in a hot barn.

Plots about obtaining, catching, destroying a soul, and chasing it, based on the animistic views of the creators of the epic, represent a wide variety in the heroic-epic tales of the Buryats. The soul, presented as a material phenomenon, usually has the appearance of quails in the epic works of the Buryats (budene), sometimes quails and partridges, quails and wasps. Their number varies: 12, 13, 22, 23, 26 and they are in a golden box, which in turn is in a silver box, enclosed in a wooden or iron box and hidden in the stomach of mythical animals (three-year-old toad, wild pig) that live at the bottom of the poisonous (yellow) sea, or are kept by grandmothers or older aunts of the Mangadhai monsters. In one of the Ungin versions of the Geseriad, the souls of the three Sharablin khans - the enemies of Geser - look like white and silver butterflies and are in a box on the very top floor of their palace. And in the Ekhirit-Bugat epic “Erensey” the soul of the Mangadhai in the form of a yellow stone is hidden in the knife-like feather of the right wing of the huge bird Khan Kherdeg.

Obtaining the enemy's soul is always associated with cunning, magic, and werewolf. The hero usually comes to the guardians of the souls of the Mangadhai, turning into their “grandson”. Then, having magically put them to sleep, he breaks the boxes and catches the scattered birds with the help of his magical art: releasing a biting frost, he collects the rays of the sun on his right palm, and with his left he destroys the quails that have flown to the warmth.

Sometimes the soul, fleeing persecution, successively turns into animals, plants, fish, etc. The motive of the chase, based on the idea of ​​the metamorphism of the soul, is widespread in the epic of the Ekhirit-Bulagats. The most developed and colorful chase plot is found in the epic “Abai Geser-khubun” (“Abai Geser the Mighty”) by the Ekhirit-Bulagat storyteller Manshud Imegenov, where the hero pursues the soul of the Long Red Mangadhayka (Uta Shara ezy).

Twenty-six quails fluttering out of the box successively turn into roe deer, growing millet, small fish, and Geser, exterminating them, respectively, into a gray-gray hawk, nine gray sky wolves, nine soldiers, nine pikes. And when the last fish turns into thirteen quails, he directs the rays of the sun onto the withers of his horse, the rays of the moon onto his croup; causes bloody rain, stone hail and destroys flocked birds.

In the Unga epic tradition, in the plot of a chase with transformations, the hero can be replaced by his arrow, and the pursued soul can be replaced by its owner, a foreign hero (uliger “Altan Shagai Mergen”). In the epic of the Ungin people, plot collisions of searching and obtaining a soul, rather than chasing after it, are more popular. Thus, in the uliger “Late-born Ulandai Mergen” (Orey khenze Ulaandai Mergen; 3307 verses; recorded by G.D. Sanzheev in 1928, in the Srednyaya Kuyta ulus, Nukutsk region, Irkutsk region) the hero and his antagonist, the One-Headed Mangadhai Erhe Boyber Khubun , unable to defeat each other in single combat (since both are invulnerable), they set out in search of souls, the whereabouts of which they learn by exchanging their books of fate-zayan.

Mangadhai turns into a yellow-spotted wasp and observes the habits of the hero's wife, the beautiful Shara Seseg abhay. Then, ascending to heaven, he takes on her appearance and asks the supreme celestial goddess Manzan Gourman grandmother for the soul of “her husband,” supposedly to “strengthen” her. And Ulandai Mergen, turning into a huge Abarga fish at the bottom of the poisonous sea, conjures his magic weapon - the heavenly crystal blue “stone”-jewel (molor huhe erdeni), to tear open the belly of a wild pig and carry the box with the soul of Mangadhai to the shore. Then he destroys twelve quails, frozen from the cold, when they fly into his palm towards a ray of sunshine. At that moment, Mangadhai, who was about to receive the bottle (lonkho) with twelve quails (the soul of Ulandai Mergen), falls dead from the sky and breaks.

In the Unga epic tradition, such stories on the theme of searching for and destroying the enemy’s soul take on a fabulous, entertaining character.

In the later stages of epic creativity, representatives of the hostile world are depicted as more powerful than their archaic predecessors, endowed with supernatural strength and invulnerability. The hero cannot defeat them either in single combat or by force of arms. In the Unga Geseriad, this is the monster Gal Dulme Khan (lit.: Khan of Fire and Heat), who has one hundred thousand eyes on his back, forty thousand eyes on his chest, a star-white eye on the top of his head, destroying all life on earth, bringing drought and pestilence; devil Sharem Minata alban shulma (lit.: devil with a cast-iron whip), living on the other side of the land of death; Lobsogy Black mangadhai riding an iron-blue horse. All of them originate from the body parts of the evil Atai Ulan Tengri, the head of the left-sided (eastern) celestial beings, who opposed the right-sided (western) good deities, thrown to the ground. Geser destroys enemies with the help of his patrons - Western heavenly deities: He strikes Gal Dulme Khan in a vulnerable spot - the pupil of a star-white eye on the top of his head, where his soul was kept, and his unborn (uterine) son - an invulnerable iron-bodied baby - is melted by the heavenly blacksmiths into iron barn; the invincible devil Sharem Minata, who apparently personifies death itself, is cut into pieces by the magical wooly twig of the supreme celestial Manzan Gourmet grandmother; and the immortal, soulless Lobsog Black Mangadhai is imprisoned in a deep dungeon with guards who do not allow him to leave there.

In the epic, the Mangadhai, as the worst enemies of people, are always destroyed, their bodies are burned, and their ashes are scattered. In their origins, these images belong to the most ancient layer of epic mythology. According to A.I. Ulanov, amorphous, vague images of multi-headed, multi-horned, multi-eyed monsters, combining the characteristics of humans, predatory animals, birds, and spontaneous destructive forces of nature, arose at the stage of fetishism and continued their formation at the developed stage of animism (Ulanov. 1963. pp. 162, 168-169).

Etymology of the term mangadhai, having different phonetic variants (mangus, mangad, mangaa, jal-maus, moos) the widespread occurrence in the epic of the Turkic-Mongolian peoples, as well as the genesis of this folklore and mythological image, remain unclear in science. Perhaps the opinion of G.D. Sanzheev, who believed that under the images of these monsters in the Buryat epic, people of a foreign tribe are caricatured (Sanzheev. 1936. P. 29), is not without foundation, since the tradition of identifying representatives of other tribes and peoples with the word “mangad” existed, in particular, among the Western Buryats and Kalmyks. It is possible that in later historical periods, depending on the circumstances, this ethnonym could be used in a negative way, demonizing the image of an alien enemy.

A fairly large group in the heroic-epic works of the Ungin people is represented by the Uligers, the plot of which is built on the antagonism of members of the patriarchal family and clan: the struggle of older sisters with brothers, older brothers with younger ones, uncles with nephews, parents with sons, daughters-in-law with sisters-in-law, older sons-in-law of the khan with a low-status poor son-in-law (“Haidar and Buidar”, “Khan Segsey Mergen”, “Ere Habtas Mergen”, “Amagalan Bogdo Khan”, “Bogdoni Khubshe Mergen”, “Five-year-old Toley Mergen”, etc.). Compared to other thematic groups, they more fully reflected the ideology of the era of military democracy, the transition to a new type of economy - cattle breeding, the strengthening of the power of men in the family and clan, the emergence of property and social inequality in ancient society. Mortal struggle, deceit and betrayal of blood relatives are motivated in these uligers by the desire to seize property: livestock, herds, subjects, and not by the marriage of a sister as in the archaic tradition. The winner is always the male hero (younger brother; nephew), who cruelly punishes his traitorous relatives.

In this group of uligers, the popular image of the heroic maiden, the younger sister of the hero, traditionally acting as his savior in the Ekhirit-Bulagat epic, undergoes transformation in this group (plot type “Sister gets her brother a resurrection wife”). At the new stage of development of the epic, with the glorification of the image of a male hero, she loses this function, which passes to the hero’s horse. In the Unga uligers, on the theme of the struggle of blood relatives, a new fairy-tale plot appears about the defenseless younger sister of the hero, persecuted by evil daughters-in-law, who has completely lost the heroic traits of a heroic maiden.

Uligers telling about the relationships and conflicts of family members and clans are distinguished not only by rethinking, changing the interpretation of archaic motifs, but also by enriching them with new plots, episodes and images; expansiveness and complexity of the narrative structure.

In contrast, the uligers about the struggle of heroic maidens with the mangadhai who came to them with matrimonial purposes are small in volume: “Maiden Alag Bulag” (518 verses), “Maiden Ereg Dureg” (252 verses), the narration of which is distinguished by a humorous coloring, and also uliger "Seven famous Savras mares" (Suutyn doloon hulagshan)(1233 verses), telling about the death of a herd from a foreign warrior-invader and its leader - a Savras mare, saving her foal at the cost of her own life.

The Unginsky Uligers represent a higher stage of development of the Buryat epic with an emerging tendency towards liberation from mythological views. But they still contain many elements of the hunting epic and animistic ideas. Heroes are traditionally endowed with miraculous abilities (werewolfism, magic).

The formation of the Unga epic tradition was determined by the socio-economic processes that took place during the decomposition of clan society. The epic tradition of the Ungin people shows that the interests of the material order, the seizure of other people's property, become in many ways the root cause of the contradictions that arose in society.

The further development of the heroic-epic tales of the Buryats is demonstrated by the Khorin Uligers, the creators, keepers and performers of which were mainly representatives of the most numerous Khori tribe, living in the steppe and semi-steppe regions: along the valleys of the rivers Uda, Kurba, Khilka, Chikoya, Onon, the right bank of the Selenga; in the steppes of Kudara, Tugnui and Aga - favorable for breeding cattle, horses, camels, sheep and goats. Those who moved to the Selenga basin in the 17th century also lived together with the Khorin people. Mongolian clans of Atagans, Tsongols, Sartuls, Uzons, Khatagins, Tabanguts, as well as small groups of Bulagats and Ekhirits (in Ivolga, Orongoy, Tugnui, Mukhorshibiri, Eravna), who undoubtedly brought their archaic epic traditions (sets of plots, images, motifs).

According to historical sources, the main occupation of the Transbaikal Buryats in the 17th-18th centuries. there was nomadic cattle breeding in the complete absence of arable farming. Hunting also no longer played a big role in the economy. (Sanzhiev, Sanzhieva. 1999. P. 42). The separation of cattle breeding into a special branch as a specific independent production inevitably pushed the growth of new social relations, increased property inequality, and the emergence of an embryonic tribal aristocracy. This process was also facilitated by ancient connections, the proximity of the Khori-Buryats with Khalkha, and the presence in their life of features of the later feudal-Mongol culture. As A.I. writes Ulanov, “among the Hori, the 17th century is marked by many signs of class society: differences in property, the power of leaders, the beginning of the penetration of Buddhism, etc.” (Ulanov. 1974. P. 69).

The originality of the natural-economic, historical, social conditions of life and life of the Khorin people was clearly reflected in their epic, defining the typology of its artistic body, which gave rise to its separation into a separate stage formation.

The first recordings and publications of the epic works of the Hori-Buryats, begun at the end of the 19th century. G.N. Potanin (a retelling in Russian of the uliger “Bolod Khurai”), were continued by A.D. Rudnev (prose texts of the Uligers “Lodoy Mergen”, “Shoroltor Mergen”, “About old man Zhibzhen” with translation into Russian) (Rudnev. 1913-1914), Ts.Zh. Zhamtsarano, B. Baradin (uligers “Khashagta Mergen”, “Nayantai Mergen”); in 1929 - G.D. Sanzheev in the mountainous Oka (“Bogdo Khubshe Mergen”, “Ere Sogto Mergen”), in 1934 - N.N. Poppe ("Bator Shono Galdan", "Ulan Nuden Buidan").

Of particular value among them is the collection of Ts. Zhamtsarano, consisting of nine uliger texts recorded in 1908, in Khara-Shibiri, from the 63-year-old storyteller Bazar Galdanov, an expert in the epic tradition of the Khori-Buryats ("Manyelte Mergen", "Heeder Mergen ", "Saazuunay khubun", "Dolooliin luugaa basagan" (Maiden of Dololin Luga), "Namuunay khubun", "Zhibzhelte Mergen", "Tumer Boldor", "Shulun Boldor", "Khan Khashagta Mergen").

A significant number of uligers were recorded in the 30-50s of the 20th century. A.N. Stepanov: “Twelve-year-old Altan Ganzhudai” (917 verses); “Fifteen-year-old Abaday Mergen” (580 verses); "Unchen Zhagar Bogdo Khan" (832 verses); "Unkhelseg Bator" prose-poetic text; "Bogdo Bugter Khan" (600 verses); "Bator Shono Galdan" (1500 verses); "Muu khubun" (716 verses), etc.; YES. Alekseev: “Lodoy Mergen”, “Huraltor Mergen riding a brown horse”; S.P. Baldaev, N.O. Sharakshinova, P.B. Baldanzhapov, G.O. Tudenov, Ts.-A. Dugarnimaev and others in the Selenginsky, Bichursky, Kizhinginsky, Khorinsky, Eravninsky, Mukhorshibirsky aimaks of Buryatia and the Aginsky Buryat Autonomous Okrug of the Chita Region.

These records show that the epic tradition among the Transbaikal Buryats was alive almost until the end of the 20th century, despite the process of its extinction that apparently began in the middle of the 19th century.

Compared to the Western Buryat ones, the Khorin uligers have mainly a mixed prose-poetic form, and therefore their execution was distinguished by deep originality. According to Ts. Zhamtsarano, the narrative part of them was told by the narrator in “recitative”, and the monologues and dialogues of the characters were sung. “At the same time, those present, most of whom have already sung, sing in chorus after each line the corresponding refrain - “turilg, e” (from the word mypixy - push). Each speaking person in the uliger: hero, mangatai, horse, beast, arrow - has its own motive and its own refrain, characterizing the speaker.” (Zhamtsarano. 1918. pp. 25-26). These choruses were sometimes accompanied by playing string instruments (hure or scimitar).

The lively participation of listeners in the performance of uligers among the Khori-Buryats was thus expressed in the vocal second following the narrator of short couplets or quatrains (choruses-formulas) stable in their composition and structure, which do not have a coherent semantic content, but obviously serve as a means phonosemantic characteristics of a specific image of an epic character, from the person who performed it. So, the refrains are the formulas of the heroic horse: “True, Trojan!” or “Turya-ee turyanza, turyahysa-ee turyanza!” are undoubtedly onomatopoeic variations of the word turyaha- snort, and turelge dogs: "Gangyaanuur, gangyaanuur, gangyaa gangyaanuur!" comes from the word ganganaha- whine.

A feature of the Khorin epic is also the vocal monologues of the heroes, in which they express their feelings and experiences experienced at critical moments.

Along with prose-poetic, Khorin uligers have a poetic form, performed both in a drawn-out melodious manner and in a declamatory, recitative manner (Ulanov. 1974. P. 73). They are small in volume (from 500 to 2000 verses) and are more like a brief retelling, since in the process of fading of the uliger tradition they lost many traditional features of style, composition, artistic expression (abbreviation of epic cliché formulas, etc.).

The plots of the Khorin uligers are varied and thematically fall into groups: the first is about the heroic matchmaking and marriage of the heroes ("Bolod Khurai", "Maiden Doloolin Luugaa", "Borontuu Mergen on a gray-motley horse", "Nugelte Nyusegen Gurguli", "Heeder Mergen" ); the second is about the marriage and struggle of the heroes with the Mangadhai and foreign invader khans ("Unchen Zhagar Bogdo Khan", "Khan Khashagta Mergen", "Unkhelseg Bator", "Bogdo Khubshe Mergen"); the third is about intra-family and clan relationships and conflicts (“Manyelte Mergen”, “Lodoy Mergen”, “Ereldei Ezen Bogdo Khan”, “Bator Shono Galdan”, “Sagadai Mergen and sister Nogodoy Sesen”, “15-year-old Abaday Mergen”, "12-year-old Altan Ganzhudai").

The main motifs of the Khorin epic, related to its ancient layers (the fight against the Mangadhai, heroic matchmaking, magic, werewolves, the death and resurrection of heroes, the destruction of the soul of the enemy, etc.), are common with the Western Buryat Uligers, which indicates their formation on the basis of a single epic tradition.

Similarities with the Ekhirit-Bulagat and Unginsky Uligers are also revealed by plots on the theme of intra-family, clan relationships and conflicts (betrayal of a wife, antagonism between uncle and nephew, older and younger brothers; mutual affection of brother and younger sister; exploits of a heroic maiden and her killing by evil daughters-in-law; murder of son by parents).

But at the same time, the Khorin uligers have their own characteristic typological features, manifested in a different interpretation of archaic motifs, plots and images in accordance with the ideology and life of the nomadic pastoralists of the era of the decomposition of clan society and the emergence of elements of a new system.

The epic hero of the Khorin people is usually depicted as a rich cattle breeder, the owner of vast herds and countless herds. Often, uligers describe five types of domestic animals traditionally bred by Buryats (taban khushuu small): cows, horses, camels, sheep and goats. The ancient motif of hunting fades into the background and is interpreted not as a means of food, but as fun, the entertainment of the hero. As Ts. Zhamtsarano writes, the hunt for animals among the Khori-Buryats “is organized to survey foreign countries, establish relationships with other heroes,” and serves as a way to “conclude alliances or start a war.” (Zhamtsarano. 1918. P. XXX).

In the Khorin epic, inter-tribal and inter-tribal struggles waged by khans (leaders of clans and tribes) are artistically reflected: “Khan Khashagta Mergen”, “Namuunay Khan”. The opponents and enemies of the hero, along with the Mangadhai, are mainly foreign khans, who are characterized as “evil people” (ok sedhelten). They attack the hero’s possessions, steal livestock and herds, seize lands (pastures), and turn subjects and household members into forced shepherds and slaves (barlag).

The epic hero makes campaigns for the sake of protection, liberation of his possessions from enemy raids, extraction of his betrothed, return of stolen property (property, wife, parents) or the conquest of other clans and tribes (countries), search for better lands and pastures. He is driven by the desire to gain fame, to exalt his name. In some uligers the hero titles himself a great, rich khan (yehe bayan haan).

The motive for the struggle of blood relatives (uncle and nephew, older brothers with younger ones) is the desire for power (taking possession of the father's “throne”).

In the epic of the Khorin people, the social stratification of society into tribal nobility and simple relatives (shepherds, servants), who, in the words of Ts. Zhamtsarano, are “obedient tributaries of their lord,” is more clearly visible.

Compared to the Ekhirit-Bulagat epics, the Khorin epic is less archaic. There are few characters of zoomorphic mythology in it, there is no motive of twinning with animals, and the traditional images of Mangadhai monsters are de-actualized, lose their fantastic features and are depicted either as “comical, stupid simpletons, whom the hero deals with without much difficulty,” or are endowed with completely realistic features of the invader khans : they have weapons, an army and carry out predatory raids, ruining the property of the heroes.

In uligers with a matrimonial theme, fairy-tale motifs and plots play an important role: marriage, often of a low-status hero, thanks to the help of a magical donor, to werewolf maidens appearing in the guise of birds, beasts, animals (swan, fox, roe deer, quail, lark) . Particularly popular is the image of the heavenly swan maiden - the betrothed of the hero, which goes back to the totem cult of this bird, with which the Hori-Buryats associate their origin.

Later layers include motives of social inequality, as well as images and terms related to the Buddhist religion: lama(Buddhist monk) Dayansha(contemplative lama), shudhar(damn, devil) orkhimzho(an attribute of a monastic robe is a wide strip of red cloth thrown over the shoulder), hadag(a long, silk cloth presented as a welcome gift to honored guests), abaral 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 the Khorinsky (as well as Unginsky) epic traditions in the form of new genre formations - tales about animals. Thus, the main character of the Khorin uliger “Suutyn sagaan hulagshan” (The famous white mare) and the Unginsky “Suutyn doloon hulagshan” (Seven famous Savras mares) is a horse, at the cost of its life saving its foal from the cruel khan’s hero, who exterminated their entire herd. The legends sound a hymn to the life-affirming power of maternal love. And in the widespread uliger among the Khori-Buryats “Unsheng sagan botogon” (White orphan camel), the story is told about the bitter wanderings and melancholy of a cub separated, at the will of a rich man, from his mother.

Unlike the archaic tradition, the bearers of evil in these works are no longer monsters, but people - representatives of the social elite of society.

Cattle-breeding motifs are more widely reflected in the Khorin uliger tradition than in previous ones, but the image of the heroic horse is traditional and beloved in all the heroic-epic tales of the Buryats. This is a faithful friend, a universal wonderful helper and a wise adviser, possessing a perspicacious mind and human speech. His depiction combines both realistic and fairy-tale-fantastic elements. In the Unga epic, the horse, at the cost of its life, saves heroes from death, obtains a resurrection betrothed for its deceased owner, has the magical ability of reincarnation, and in some cases revives its friend. The hero of the Unga Uligers receives heroic status only after taming and riding a heavenly horse sent by divine patrons.

The image of a wonderful horse, based on ancient totemic beliefs and cult, appears in the heroic epic of the Buryats as the sacred patron of the clan and expresses the strength and power of the uliger hero.

In general, the Khorin Uligers show the further evolution of the epic creativity of the Buryats at a new stage in the development of society and people’s consciousness; the process of overcoming the mythological worldview. According to the observations of scientists, the Khorin storytellers, in contrast to the Ekhirit-Bulagat and Unginsky ones, treated the Uligers as “art, fantasy, beautiful invention” (Ulanov. 1974. P. 74).

The adoption of Buddhism by the Khori-Buryats, the spread of Old Mongolian writing, religious literature of Tibet and China, the canons and dogmas of the Buddhist Church, served, according to scientists, as the impetus for the gradual extinction of epic creativity, “the development of uligers into fairy tales.” (Ulanov. 1957. P. 167), although the people continued to maintain their love for the epic and the tradition of its transmission.

A special place in the heroic-epic creativity of the Buryats belongs to the tales of the mighty hero Abai Geser - a heavenly son sent to earth to protect ordinary people from suffering and death. The epic about this hero, which has existed among the people since time immemorial, is widely known in all corners of ethnic Buryatia, enjoys universal love and is considered the pearl of Buryat uliger creativity. Compared to other uligers, the legends about Geser are distinguished by their large volume (from 7 to 20 or more thousand verses), monumental plot composition and perfection of artistic form.

In addition to Buryatia, the Geseriad is known in Mongolia, Kalmykia, among the Turkic-speaking peoples of Southern Siberia, in Tibet (Kham, Amdo, Ladakh), 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 examples of this unique monument are considered the most archaic and represent an extensive epic corpus, formed on the basis of biographical and genealogical cyclization, telling about the life and exploits of the hero and his sons, who were entrusted with the special mission of fighting against evil on earth and establishing a peaceful and happy life for people.

Unlike the Tibetan and Mongolian versions, which had a written tradition, the Buryat Geseriad was transmitted orally for many centuries, which led to the emergence of various local traditions of its performance and an abundance of different variants. The book form of the Geseriad, close to the Mongolian one, existed mainly in Transbaikalia among the Khori-Buryats, where the Old Mongolian writing and Buddhism were widespread and the influence of the feudal culture of Mongolia was strong.

The first steps to record the Buryat Geseriad were taken by G.N. Potanin, who in 1883 published a rather sketchy retelling of the initial episodes of the uliger, entitled “Gesir Khan,” recorded by him from the Alar Buryat Manzanov, who spoke Russian. Then, in 1893, in the book “Tangut-Tibetan Outskirts of China and Central Mongolia”, along with Tibetan versions, he included a very detailed retelling of the Buryat ethnographer M.N. Khangalov, a summary text of the poetic epic "Abai Geser Bogdo Khan" that existed in the Angara region.

M.N. Khangalov, who recorded this epic tale from his father N. Khangalov and the talented Uligershin P. Tushemilov, provided the text with an extensive introductory article containing valuable information about the existence of “Abai Geser” among the Unga Buryats, about the legends associated with his name.

At the beginning of the 20th century. work on collecting heroic-epic tales was continued by Ts. Zhamtsarano. In 1903-1906, on instructions from the Russian Academy of Sciences, he made the first scientific records of the Uligers who lived in the valley of the river. Kuda, Verkholenye, on (now Ust-Orda Buryat Autonomous Okrug). His collection, consisting of ten full-fledged, highly artistic examples of the archaic epic of the Ekhirits and Bulagats, revealed to scientists the amazing wealth of the epic creativity of the Buryats. Of particular value in this collection was the epic "Abai Geser-khubun" (10,590 verses), recorded from M. Imegenov and, together with the uligers about the sons of the hero ("Oshor Bogdo-khubun" and "Khurin Altai-khubun"), a cyclized epic, volume 22074 verses, which has no analogues in other national versions of the monument. These notes were published in the first two issues of the second volume of "Samples of Folk Literature of the Mongolian Tribes." The records and publications of Ts. Zhamtsarano are valuable in that they formed the classical textual basis of Buryat epic studies and actively function in science.

In 1909, the English scientist Curtin published three versions of “Geser”, which he recorded in 1900 in the same region. One of these options was an abbreviated presentation of “Abai Geser-khubun”, recorded by an Englishman, apparently from M. Imegenov, but has a number of plot differences compared to the full recording made by Ts. Zhamtsarano in 1906. The texts in Kurtin’s publication were the result double translation: from Buryat into Russian, made by V. Mikhailov, then from Russian into English and essentially represented prosaic retellings of the plot outline of the Uliger.

In Soviet times, from the beginning of the 20s, folklorist S.P. was engaged in the systematic collection of folklore material (especially uligers). Baldaev (1889-1978), who examined almost all the uluses of ethnic Buryatia. A significant number of heroic-epic works, including the epic about Geser, were also recorded by scientists and collectors: A.K. Bogdanov, K.A. Hadakhane, K.V. Baginov, A.I. Shadayev, G.D. Sanzheev, I.N. Madason, D.D. Khiltukhin, R.F. Tugutov, D.A. Alekseev, M.P. Khomonov, N.O. Sharakshinova, A. Balburov, T.M. Boldonova, who worked with talented uligershins of the 20-40s and 50s, who still preserved the living tradition of storytelling art. To a large extent, thanks to their efforts, the main repertoire of traditional uligers that existed among the people was identified and recorded, giving an idea of ​​​​the general fund of the epic heritage of the Buryats.

Currently, the KhVRK IMBIT SB RAS houses more than a hundred original uligers, among which the heroic-epic tales about Geser are most fully represented. They were recorded in different years in the Alarsky, Nukutsky, Bokhansky, Osinsky, Ekhirit-Bulagatsky districts of the Irkutsk region, as well as in Tunka (Buryatia) and Are (Chita region) from talented folk storytellers-gesershins: P. Petrov (1866-1943) , P. Tushemilov (1877-1954), P. Dmitrieva (1883-1958), B. Zhatukhaeva (1891-1983), Alfora Vasilyeva (1887-1945), A. Toroeva (1893-1982), O. Khaintaeva, M . Gerguseeva, O. Gelinkenova, N. Ivanova, R.N. Bulatov, D. Zabanova, D. Khaludorova" Zh. Samaev and others, each of whom had their own unique creative individuality, their own performing style and the gift of the poetic word. Being for the most part great experts in folklore, universal storytellers, they were able to convey to our days, the diversity and richness of the local epic traditions of the Buryat Geseriad.

Bilingual (in the original language with Russian translation) scientific editions of the Geseriad texts recorded by Ts. Zhamtsarano and I. Madason were carried out in the early 60s by A.I. Ulanov and M.P. Khomonov. In 1969 N.O. Sharakshinova published her translation into Russian of the text "Abai Geser-khubun" (Sharakshinova. 1969. pp. 145-314). In 1995, in the series “Epic of the Peoples of Eurasia”, a new bilingual edition of the Ekhirit-Bulagat version was published in a scientific translation by A.B. Soktoeva (Abai Geser Mighty... 1995). In addition, different versions of "Geser" were published in the Buryat language (Tushemilov."Geser". 19 A\; Dmitriev."Geser". 1953; "Abai Geser Bogdo Khan". 1995). Researchers divide the entire variety of variants of the Buryat Geseriad into two groups according to their stage-typological characteristics: Unginsky, close in plot to the Mongolian book Geseriad, and much more archaic, Ekhirit-Bulagat (Ulanov. 1957. pp. 104-105, 128, 138; Sharakshinova. 1969. P. 40; Abay Geser. 1960. P. 4).

The basis of the plot of these heroic-epic works is the story of Geser being sent to earth by heavenly deities, his second birth on earth, marriage and exploits in the name of happiness and peaceful life of people.

The most famous scientific version of the Ekhirit-Bulagat version of the Geseriad is the epic "Abai Geser-khubun", recorded in 1906 by Ts. Zhamtsarano from the outstanding storyteller from the Kukunut ulus of the former Kudinsk department of the Irkutsk province, a poor peasant from the Ashabagat clan Manshuda Imegenov (1849- 1908), who managed to reproduce this monumental epic trilogy about the hero and his sons in the performing traditions of the ekhirit-bulagat, preserving both the originality of the plot and the picturesque richness of the artistic language and images, not in the usual setting among odnoulusnik listeners, but for a visiting scientist who was recording every word he says.

This version, according to A.I. Ulanov, is “completely independent, original, having no resemblance either to the Mongolian Geseriad or to the Tibetan or Kalmyk legends about Geser, except for the name of the main character.” The archaic nature of “Abai Geser-khubun”, which has well preserved its mythological basis, is evidenced by both its very content, the interpretation of the images of the main characters, and the main idea of ​​the work: “the fight against monsters personifying the evil forces of nature and overcoming obstacles.” (Ulanov. 1957. P. 116).

Events in the epic, as in other versions of the Buryat Geseriad, begin in the sky, in which, according to ancient Buryat beliefs, tengri celestials live: those born on the western (right) side - 55 good, bright deities led by Khankhan Hermos and those born on the eastern (left) side - 44 dark, evil ones, led by Ataa Ulan, and in the middle between them - Segen Sebdeg Tengri. The elder, supreme deities to whom all celestials obey are: father Esege Malan-babai, grandmother Malzan Gurmen-tɵɵdei - the oldest goddess, the mother of all Tengri. The good deities who vigilantly look after Geser and help him in difficult times are “a thousand bright heavenly burkhans” (ogtorgoin mingan sagaan burkhan), as well as the Creator Bright Elder Zarlig (Zarlig sagaan ubegan).

The plot of further events in the epic is the dispute between Khankhan Hermos and Ataa Ulan. Each of them wants to master the middle Segen Sabdeg Tengri, which lives apart and personifies the border, the boundary between two opposition camps (light and darkness). This is evidenced by the etymology of his name - “Solid (unshakable; persistent) celestial inhabitant of the border, boundary.”

The celestials agree to fight: whoever wins will take possession of Segen Sabdag. But Hanhan Hermos forgets about the date of the battle. And then the three-year-old son of Khankhan Hermosa, the late-born Abai Geser-khubun, throws Ataa Ulan to the ground with a blow from his father’s spear. Zambi(the concept of Zambi- the earth, as a habitat for people, is associated with the cosmogonic ideas of the ancient Buryats, according to which the Universe consisted of the upper (heavenly), lower (earthly) and underground worlds).

The body of the defeated Ataa Ulan spreads stench and stench; turns into Mangadhai monsters who swallow and devour earthly people and all living things on earth. To save them, cleanse the earth of monsters, restore peace, prosperity and order, the bright heavenly deities send Geser to the earth. From this moment on, the hero’s entire life is devoted to this noble mission, which is the main idea of ​​the Buryat Gesariad.

Geser descends to earth in the guise of a black raven. His bodily hypostasis remains in heaven. Heavenly patrons first temper him, strengthen his soul, making it invulnerable, endow the hero with miraculous abilities, and give him three savior sisters as companions, since severe trials and a difficult struggle await him on earth.

On earth, the hero is reborn from a 60-year-old old woman living in poverty and a 70-year-old man who makes his living by catching small animals.

The main plot elements of M. Imegenov’s version are: 1) Heavenly prologue (the opposition of Western and Eastern celestials); Geser's overthrow of Ataa Ulan-Tengria; 2) Descent to earth and rebirth; 3) Geser’s childhood exploits: the destruction of werewolf demons in the guise of big guys; neutralizing iron-billed crows with iron claws, giant mosquitoes with bone trunks, who were going to peck out the baby hero’s eyes and suck the blood; 4) The matchmaking and marriage of the hero to the khan’s daughter, the maiden San-khan Gohon; 5) The betrayal of the hero Agsagalday, who succumbed to the intrigues of the 108-headed Biting Yellow Mangadhai. Geser's victory over Mangadhai and the execution of the traitor; 6) The struggle and victory of Geser (with the help of his heavenly brother Dashin Shokhor) over the powerful, never-sleeping sorcerer Galkhan Nurman Khan (lit.: “Khan of the Fiery Lava”). Destruction of the enemy's unborn son - an iron-bodied baby; 7) Birth of son Oshor Bogdo; 8) Geser's fight and victory over the 13-headed Asurai Yellow Mangadhai; 9) Geser’s journey to heaven and marriage to Tengri’s daughter, the maiden Gagurai Nogon; 10) Returning with his wife to earth; 11) Betrayal of Gagurai Nogon and her departure to Mangadhai. Transformation of Geser into a horse; 12) Rescue of Geser by his first wife Sanhan Gohon; 13) Geser’s fight with the many-headed and many-horned monsters-Mangadhai and the Long Red-haired woman-Mangadhai; 14) Fight with mad wolves, with multi-headed Danyal and Asurai mangadhai; 15) Destruction of the mighty old Mangadhai witch; 16) Imprisonment in a deep dungeon-underworld (khurkhen tama) Danyal and Asurai mangadhai; 17) Execution of the traitor Gagurai Nogon and Mangadhai Obsogoldoy; 18) Return to homeland.

At the end of the story, Geser says that he destroyed all the enemies on earth. And after the marriage of the eldest son, Oshor Bogdo, ascends to heaven, where the Tengri deities again turn him into a three-year-old baby.

M. Imegenov’s version captures the early period of development of Buryat society; it quite clearly reflects the surviving elements of matriarchal and patriarchal ideologies. Malzan Gourmet Grandmother has the highest power and unquestioned authority; the souls of the Mangadhai monsters are kept by old women (grandmothers and aunts) on the maternal side; The oldest woman in the family takes care of the newborn child.

The uliger depicts the hunting way of life: Geser is engaged in hunting; His earthly parents are engaged in catching animals and collecting herbs.

Geser's main enemies are numerous monsters - Mangadhai, evil old women - Mangadhai, Gal Nurma Khan, who has the vestigial features of a monster-devourer; giant iron-billed crows, mosquitoes, rabid wolves and other creatures hostile to humans. The hero's struggle with monsters occurs as a random encounter on the road or while hunting. Geser, having defeated the Mangadhai in single combat, executes them by trapping them in tree trunks. There are no social motives of struggle in the epic.

The weapons of the Mangadhai are clubs or axes. They ride on shabby nags with a dry saddle. Mangadhaykas use their leather scrapers to fight Geser.

The hero does not distinguish himself from the clan group, he is merged with the clan, which is emphasized by adding the word to his name khubuun(son of a clan, tribe, guy), having an additional evaluative meaning: “mighty”, “glorious”, which is generally characteristic of archaic epic.

Geser fights enemies not for the sake of personal interest, but for the sake of the happiness of the members of the tribal collective. The genus is contrasted with the surrounding world, which is presented in the form of evil and good creatures. Evil creatures are subject to destruction and the hero directs all his energy against evil monsters.

The ancient form of performing epic works (when listeners took an active part in it) includes such compositional elements in “Abai Geser-khubun” as ugtalga(lit.: meeting) - a calling song that expressed the desire to listen to the uliger; udeshelge(lit.: farewell) - a farewell song addressed to the heroes of the epic and listeners and seg daralga(lit.: skrepy; ligaments), performed by listeners before the start of the story about the next campaign of the hero or at the end of the next episode, when the narrator took a break. There are thirteen such linking songs in M. Imegenov’s version. They contain glorification of the hero, his horse, wishes of good luck on the campaign, etc.

The narration in "Abai Geser-khubun" is not limited only to the heroic exploits of the hero. It also reflects pictures of peaceful life, everyday scenes that recreate the way of life, customs dating back to a later time.

Traditional for the archaic epic in this monument are the motives for the difficult assignments of the future father-in-law, the father of the bride: sending the giant bird Khan Kherdeg for the feather and the associated plot of the hero saving the bird’s daughters from a poisonous yellow snake; motives for searching and destroying the soul of the enemy; motives for turning to things in the book of fate-zayan, etc.

M. Imegenov’s plot development of the motive of the path (Geser’s ascent to heaven), where his betrothed Gagurai Nogon lives, meeting with his creator - the Bright Elder Zarlig, is distinguished by deep originality and uniqueness; testing Geser's strength and hardening him in the crucible by heavenly blacksmiths.

A different stage of development is represented by the Unga versions of the Geseriad, the characteristic features of which are reflected in the epic “Abai Geser” (12537 verses), recorded by I.N. Madason in 1940-1941. from a talented storyteller from the Khadakhan ulus of the Irkutsk region, Pyokhon Petrov.

The descent of Geser to earth is also preceded by a dispute and battle between two opposition camps of celestials (Western and Eastern) for the mastery of the middle Segen Sebdeg Tengri. But unlike Imegen’s version, in P. Petrov’s “Heavenly Prologue” there appears a plot about the illness of Naran Gohon abhay (Solar Beauty) - the daughter of Naran Dulan Tengri (Tengri of the Solar Heat), sent by the head of the eastern (left-sided) celestials, Atai Ulan Tengri. In the event of her death, the 55 good western celestial beings must become subordinate to the 44 eastern, evil ones.

A large role, as in the archaic version, is played by the ancestor of Western deities Manzan Gourmet grandmother. Thanks to her advice, the son of the head of the Western celestials, Buhe Beligte Khubun (the future Geser), obtains a wonderful white lark that heals the maiden.

In general, Petrov’s description of heavenly life differs from Imegenov’s laconic one in its detailedness and plot completeness; an abundance of images of Tengri deities, their hierarchy and functions. This feature is characteristic of the entire uliger style. If in the Ekhirit-Bulagat version little Geser defeats the evil Ataa Ulan, then in the Ungin version the battle of all the celestial beings is described in turn: the sons of Khan Khirmos and Atai Ulan; then the Tengris, personifying atmospheric and weather phenomena (summer, winter fogs, frost, wind, etc.). Then the elders themselves and their horses fight. Khan Hirmos defeats Atai Ulan with the help of his son Buhe Beligte, who pierces the big toe of the enemy's right foot with a spear, where his soul was kept.

“Abai Geser” describes in detail the appearance of monsters on earth: the evil Sharablin khans; the powerful, many-eyed monster Gal Dulme Khan (Khan of Fire and Heat), the Master of the forests - the devourer of the Orgoli-White Deer; the devil Sharem Minata (the devil with a Cast Iron Whip), who lives on the other side of the land of Death; Abarga Sesen Mangadhai, who lives in the desert land of Honin Khoto; Black Mangadhai Lobsogoldoy and his three sisters Yonkhoboy, who arose from the severed body parts of Atai Ulan and his three sons.

The first part of the Unga Geseriad (Heavenly Prologue) is essentially a series of myths, clothed in the form of an epic tale, where the forces of Good and Evil, Light and Darkness received a kind of personification. Their eternal struggle is expressed in the war of the celestials, the division of which into two opposing camps is based on the ancient universal binary opposition (Burcina. 1997. pp. 113-116).

In the Unga Geseriad there is a generalization and systematization of myths designed to explain the appearance of evil and monsters within the framework of the mythological worldview.

Monsters begin to destroy all life on earth. Drought and pestilence begin. People are dying, livestock are dying. The celestials learn about this from a shaman who made an offering to the head of the Western (right-sided) good celestials, Khan Hirmos, consisting of the tears and sputum of sick people.

The heavenly council sends to get rid of evil and revive life on earth the middle son of Khan Hirmos - Buhe Beligte, who is born there for the second time to a childless couple of exiles: Khan Sengelen and Naran Gokhon - the daughter of Naran Dulan Tengri.

Geser's struggle with monsters - creatures of Atai Ulan Tengri - forms the content of Peter the Great's version. The hero's mission on earth is expressed in the uliger's chant: "He punished the invaders, He tamed the arrogant, He pacified the fanged, He exterminated the predators - the Great Abai Geser, the Mighty Abai Geser. His height is eighty cubits, his life is eight generations."

This version consists of the following main chapters: 1) Heavenly prologue. The struggle between Western and Eastern celestials. The overthrow of Atai Ulan and his sons to the ground. The appearance of monsters there; 2) Pestilence, drought on earth, death of all living things; 3) Sending Buhe Beligte, the middle son of the head of the Western celestials, to earth to save people; 4) The miraculous conception and rebirth of the hero. Childhood exploits of the brat hero; 5) Matchmaking and marriage to Tumen Yargalan. Second marriage to Urmay Gohon; 6) The hero acquires his true heroic appearance and becomes Abai Geser Bogdo Khan. Marriage to the hero Alma Mergen, daughter of the lord of the seas Lobson; 7) Geser’s campaign against the Master of the forests, Orgoli-White Deer (swallowed). Defeating the monster; 8) Victory over the huge snake Abarga; 9) The betrayal of Uncle Geser, the black-hearted Khara Soton-noyon, who sent him illness; 10) Tumen Yargalan, for the sake of saving Geser, goes to Abarga Sesen mangadhai; 11) Geser’s campaign and victory over Abarga Sesen mangadhai; 12) The wife gives the hero intoxicating food and Geser forgets about home; 13) Sharablin khans capture Urmai Gokhon; 14) Three heavenly savior sisters (cuckoos) return Geser’s memory; 15) Geser’s campaign against the Sharablin khans. Transformation into a foundling baby and adoption by the khans. Victory and liberation of Urmai Gohon; 16) Campaign and victory over Gal Dulme Khan; 17) Lobsogy Black Mangadhai, turning into a lama, turns Geser into a donkey; 18) Alma Mergen Khatan frees Geser; 19) Geser’s victory over Lobsog, his imprisonment in a dungeon pit; 20) Geser’s battle with the devil Sharem Minata and victory with the help of a wonderful wooly twig; 21) Geser frees the subjects of the Chinese Gumen Sesen Khan from death.

P. Petrov’s version also has additional episodes: “Sagan-baatar” (White Hero), “Four Last Children of the World”, “Lonely Tree”, which are absent in other versions of the Geseriad.

P. Petrov’s chapters and episodes are similar to the Mongolian Geseriad in those chapters and episodes that tell about the birth of Geser, his childhood exploits, Sargal’s noyon testing his sons, the war with the Sharablinians, and the Chinese Gumen Sesen Khan.

But the poetic Geseriad of the Buryats, in comparison with the prosaic Mongolian one, is deeply original, since it reveals the ethical and aesthetic views of the people through the figurative system of Buryat epic creativity. Many motifs and episodes from other Uligers were included in the plot of the Ungin Geseriad. They have much more details, details, episodes and plots than the Mongols, since the epic tradition of the Buryats is characterized by the expansion of the plot fabric of the narrative. Descriptions of struggles, duels with monsters, competitions of grooms, epic formulas, chants, seg daralga, udeshelge in "Abai Geser" are characteristic of the entire heroic epic of the Buryats.

The image of Geser embodies the traditional features of the heroes of Buryat epic tales. He embodies the people's ideal of a hero, a fighter for the happiness of people, which is why he is one of the most beloved heroes of the Buryat epic. Unlike the archaic tradition, in the Ungin Geseriad the hero fights in most cases with hostile khans; he has not only warriors-bator, but also an army that takes part in the battles. Many pastoral motifs appear (shepherds, herds of animals, milking cows).

The character of the epic "Abai Geser" is determined by the idea of ​​the struggle for good against all evil; expresses deep faith in the victory of Good over Evil. The idea of ​​the triumph of good is the leading idea in the Buryat Geseriad. The Unginsk Geseriad is a huge epic canvas, the events of which develop against the backdrop of the entire Universe, covering the sky, earth and the underwater world. In the epic, there is an intensification of motives that embody the theme of heroic heroism, the fight against rapist enemies and monsters that destroy people. The legend of Geser is the highest development of the Unga heroic epic, which absorbed the entire traditional system of epic creativity of the Buryats.

Heroic-epic tales - uligers (ulger) are the main ones in the system of genres of oral and poetic creativity of the Buryats. In their form, these are large poetic epics, the average volume of which is from 2 to 5 thousand, and larger ones - from 9 to 20 thousand or more verses.

As a rule, numerous versions of the main monument of the heroic-epic creativity of the Buryats - the epic "Abai Geser" - are distinguished by their large size. One of its variants is “Abai Geser Bogdo Khan”, recorded in 1916 by the famous folklorist S.P. Baldaev from Uligershin A.O. Vasiliev (Alfora), contains more than 50 thousand poems. The uligers glorify the exploits of ancient heroes in the fight against the many-headed, many-horned monsters - Mangadhai and foreign invader khans for the freedom and prosperity of the tribal collective. Protection of the homeland and people (zones), subjects (Albata zones), their property - livestock and herds - from enemy attacks, the struggle for the betrothed is the leading theme of most heroic-epic works. The Uligers represent the pinnacle of oral poetry of the people. The artistic traditions in the epic works of the Buryats are particularly developed. The richness of the content, the graphic beauty of the word, its ancient strength and power, the harmony of the narrative have always captivated and fascinated people, and attracted the attention of scientists and folklore collectors to the Uligers.

Over many centuries, at the time of the productivity of the epic tradition, when folklore had a monopoly in spiritual and poetic life, the Buryat people created hundreds of uligers. (Currently, the collections of the KhVRK IMBiT SB RAS fund contain over 900 uligers, fairy tales, legends and traditions).

Their names, corresponding to the names of the heroes, represent a great variety. A comparative analysis shows that each tribal and territorial community had its own set of names of popular epic heroes. Thus, in Western Buryatia, among the Ekhirits, Bulagats and Khongodors, uligers were widespread: “Abai Geser Khubun” or “Abai Geser Bogdo Khan”, “Alamzhi Mergen”, “Altan Shagai Mergen”, “Kharasgai Mergen”, “Osodor Mergen” , “Erensey”, etc., and in the east, in Transbaikalia, among the Khorin people: “Geserey Tuuzha”, “Lodoy Mergen”, “Zhibzheney Mergen”, “Abaday Mergen”, “Manyelte Mergen”, etc. The most common and beloved of all divisions of the Buryat ethnic group there was an epic about the mighty hero Abai Geser.

If at the beginning of the 20th century. the living functioning of the epic was observed almost throughout the entire territory of settlement of the Buryats (Pre-Baikalia and Transbaikalia), partially preserved in certain regions back in the 50s, and in our time, with the disappearance of the traditional living conditions and way of life of the people, with the passing of talented Uligershins, oral The existence of the Uligers gradually faded away. And now there are no longer any genuine experts on the epic left in the Buryat uluses.

Folklore researchers familiar with the Buryat heroic epic have always noted its archaic nature and well-preserved mythological basis (Ulanov. 1963; Sharakshinova. 1987; Khomonov. 1976).

Academician B.Ya. Vladimirtsov, calling the Buryat Uligers “real epics,” explained their “amazing primitiveness” by centuries of development and the formation of hunters and trappers in a harsh environment (Vladimirtsov. 1923. pp. 14-16), which contributed to the preservation of numerous elements of ancient mythology, animistic and totemistic ideas, genetically rooted in the depths of primitive communal life.

The performance of uligers was originally a responsible matter in the old days and served not only to entertain listeners during leisure hours. It had industrial and ritual significance and was an integral element of the economic and everyday life of the ancient community. Ts. Zhamtsarano, who began his collecting activity in 1903 among the Western Buryats (the valley of the Kuda River and the upper reaches of the Lena River), wrote that “The Uliger is sung (sung) to achieve various benefits, for example, for the healing of the sick, for the sight of the blind , for success in trades, hunting, raids, while fishing, etc.; uliger contributes to success in campaigns" (Zhamtsarano. 1918. P. 17).

There was a deep belief in the “magical” power of the oral poetic word, in its effective meaning. Listening to the uligers was part of the ritual of pre-hunting preparations, as it was “a kind of powerful magic, a charm for attracting animals” (Zhamtsarano. 1918. P. 33) and was also common among the hunters of Transbaikalia - the Khori-Buryats, and among the Tungus in the upper reaches of the Onon. According to G.D. Sanzheev, who recorded in 1928, on the left bank of the Angara, a number of large Uligers, Buryats, having arrived at the hunting site, “performed some rituals aimed at appeasing the spirits of animals and forests, on which one or another outcome of the hunt depended. Then in the evening, before going to bed, the singer spread out his white felt in the hut (not stained with horse sweat), they placed lighted juniper branches on it, a cup of wine or milk, stuck an arrow into it, etc., and all night, until the first glimmer of dawn, they chanted their epic: without According to the Buryats, during this ceremony the hunt could not be successful." (Sanzheev. 1936. P. IX-X).

The presence of the best performers at the raids was considered mandatory. They were distributed among the fires, and then generously presented by all participants in the raid. (Zhamtsarano. 1918. P. 33). M.N. also writes about beliefs that affirm the healing power of epic tales. Khangalov: in years when serious illnesses are rampant, it is especially useful to tell the uliger about the hero Abai Geser Bogdo Khan, since evil spirits are afraid of him. Listening to "Geser" before a long journey foreshadowed prosperity and success in business (Khangalov. 1959. T. P. S. 320). The Uligers listened during the long winter nights, during the months when the Pleiades were visible. It was forbidden to tell them in the summer and spring.

The aspect of sacredness has always accompanied performance practice. At the time of the execution of the epic, the invisible presence of its heroes was assumed, who, supposedly, could be awarded uligershin for the complete and correct transmission of events in the legend. The heroes of the Uligers, according to beliefs, were not ordinary mortals, but Tengri deities. At the beginning of the 20th century. there was still a belief that the uligers were created on the basis of actual events that had ever happened on earth, underground or in the sky, and that “the heroes are still alive” and the rhapsodist is responsible to them for the inaccurate rendering of the epic (Zhamtsarano. 1918. P. 18). The latter undoubtedly contributed to the sustainability of the tradition, thanks to which the ancient Uligers were able to survive to this day.

There was also a legend among the people about the high heavenly origin of the Uligers. These observations gave Ts. Zhamtsarano the basis to define the Buryat epic as something “sacred and majestic.” Academician A.P. Okladnikov, familiar with the folklore of the Turkic-speaking peoples of Siberia and the Mongols, also noted that their performance of the epic was surrounded by a peculiar, almost cult-like atmosphere of the supernatural.

The performance of uligers was sometimes accompanied by playing the khure - ancient bowed musical instrument. The voice of the singing storyteller-uligershin and sounds Hura, merging, they created a single harmonious whole. The tune corresponded to the local song tradition. The storyteller perceived him along with the uligers from his predecessors, teachers. Among the Western Buryats, this was observed more often on the left bank of the Angara, in Alari and Unga, and less often among the Bulagats of the valley of the Ida and Osa rivers. The archaic Ekhirit-Bulagat uligers, recorded by Ts. Zhamtsarano among the Buryats of the Kudinskaya Valley in Verkholenye, were performed without musical accompaniment. Appearance Hura testified to the breakdown of ancient performing traditions and the gradual dominance of the aesthetic function of the uligers. In the reproduction of the heroic tales of the epic, there were several main performing styles that corresponded to the local epic tradition. Thus, according to Ts. Zhamtsarano, the Ekhirit-Bulagat storytellers sang the Uligers from beginning to end “loudly and protractedly.” The performance was distinguished by its epic breadth, calmness, and leisurely pace. Along with it, there was a chanting recitative, as well as a simple telling, characteristic of “voiceless” storytellers. The third style was common among the Transbaikal Khori-Buryats: a prose story interspersed with vocal monologues of the characters and a choral second of their leitmotifs. The choral part, called tuureelge, sometimes accompanied by playing hure or scimitar.

The lively participation of the collective in the reproduction of the epic is a phenomenon characteristic of the Buryat uliger tradition, emphasizing its national identity. Among the Ekhirit-Bulagats, according to Ts. Zhamtsarano, it was expressed in the fact that “those present sing along, echo the rhapsode in the right places, that is, when meeting (ugtalga), when stopping (sayi daralga) and at the farewell of heroes (ude-shilge)" (Zhamtsarano. 1918. P. 25).

Thus, the uliger himself was sung solo, and the choir performed songs thematically independent from the content of the uligers, consisting of four to eight lines. IN ugtalga(lit.: “meeting”, implying a meeting with the heroes of the Uligers) - an invocation song addressed to the narrator, expressing the desire to listen to the Uliger; V seg daralga(lit.: “a bond, a ligament that connects the ends”) the listeners expressed concern for the fate of the hero-hero and wished him good luck in achieving his goal. Songs seg daralga were performed when the uligershin paused to catch his breath, wet his throat, and performed a specific plot-compositional role as ligaments between episodes, since, according to ancient belief, the epic song should not have been interrupted for the actions of the heroes to be successful.

Seg Daralga belongs to the category of “permanent places” in uligers.

Udeshelge(lit.: “seeing off”) sang at the end of the uliger. Its content was addressed to the heroes of the epic, who, according to ancient ideas, who were invisibly present during the chanting of their past exploits, were supposed to return to heaven. In it, the listeners expressed satisfaction with the performance, and the narrator expressed the desire that the heroic deeds and the uliger himself be considered completed, and that what was left unsaid would be sung tomorrow. These songs had their own melody, different from the uliger recitative.

The creators, keepers and performers of the heroic epic were the Uligershin storytellers. They enjoyed universal respect and love of the people, as evidenced by the proverb: “Uligershin is supposed to sit on a mattress-olbok, and a singer is supposed to sit on a hill-dobun.” They were people especially gifted artistically and musically, possessing an impeccable memory, so that, without omissions and distortions, as required by tradition, they could reproduce huge epics consisting of thousands of verses: the uliger could not be shortened or remade in its own way. The talented storyteller was an actor, musician and poet all rolled into one. And therefore, with a good rhapsode, according to Ts. Zhamtsarano, “listeners cry in strong tragic places and express the liveliest joy when the truth suddenly triumphs.” (Zhamtsarano. 1918. pp. 14-15).

According to their creative make-up and manner of performance, Buryat uligershins are conventionally divided into “canons”, who sacredly honor the previous tradition and strive to maintain accuracy in reproducing the learned text, and “improvisers”, in whose performing skills a personal origin, individual taste and character can be traced. The first, in the general opinion of Buryat folklorists, included Pyokhon Petrov (1866-1943), who lived on the Angara (Uiga Island) in the Alarsky (now Nukutsky) region of the Irkutsk region. He knew well not only the uligers, but also shamanic poetry, fairy tales, ancient morals and customs of the Buryats, the tradition of performing uligers, and believed that the heroes of the uligers continue to exist in the sky in the form of stars. From him in 1940-1941. I.N. Madason recorded one of the best Unga versions of the epic “Abai Geser” (12535 verses) (Abai Geser. 1960). He did not sing uligers (he had no voice), but recited them as ordinary poems. Possessing a phenomenal memory, he reproduced the uliger “without thinking and without stopping for a minute.” (Baldaev. 1961. P. 37).

The second type of performer includes another Unga storyteller P.M. Tushemilov (1877-1955), who demonstrated in his performing practice a more free, liberated style, a strong improvisational beginning, a desire for poetic innovation, for variation in the transmission of the traditional “text”, because of which the uligers in his performance to some extent lost traditional features and clarity of composition (Ulanov. 1968. P. 19).

P.M. Tushemilov came from a well-known dynasty of storytellers in the Angara region, had an extraordinary talent as a singer-improviser and enjoyed fame not only as a good uligershin, an expert in oral folk art, but also as a healer and clairvoyant. Close to P.M. Tushemilov's style of performance was that of the popular storyteller and singer A.O. Vasiliev (Alfor) (1887-1945), famous throughout the Angara region for the beauty of his powerful bass and storytelling skills. Uligers, like P. Tushemilov, sang and accompanied on the khur; traveled around the uluses, looking for competitors in competitions of improvising singers.

From him the largest version of "Geser" (more than 50 thousand verses) was recorded, distinguished by the originality and completeness of the plot development of the mythological (heavenly) prologue of the Gesariad.

At the time of the productivity of the epic tradition, the Uligers knew, if not everything, then many. In almost every ulus one could meet gifted storytellers, whose names are still preserved in the memory of old people. There were also women among them. SP. Baldaev, who has been collecting works of oral folk art for more than sixty years, mentions four hundred uligershins. The history of Buryat folkloristics includes the names of the best, those from whom we were lucky enough to record, starting from the end of the 19th century. until the 50s of the XX century, samples of uligers. This

P.P. Petrov, P.D. Dmitriev, P.M. Tushemilov, B. Zhatukhaev, P.S. Stepanov, N. Irincheeva, B. Zurbanov, M.G. Shobokleev, O. Khaintaev, S. Shanarsheev, Kh.N. Terentyev, I.I. Dagdanov, N. Tuzhinov, A. Gelenkenov and others, who lived in the Angara region; M. Imegenov, E. Shalbykov, L. Bardakhanov, B. Burlaev, B. Barnakov, N. Gulkhanov, A. Batlaev, P.P. Baldaev, A. Toroev and many others who lived in the valleys of the Kuda, Osa, and Ida rivers. Their repertoire, as a rule, consisted of ten or more large poetic heroic tales, not counting small ones of a fairy-tale nature. Almost all of them were Gesershins - excellent experts on the famous epic "Abai Geser".

In Transbaikalia the names of Bazar Galdanov (Khara-Shibir), Amprun Chingaev (Onon), Galsan Tykeev (Aga), Garmazhap Baldanov (Selenga), Da-shibylov and many others are known, from whom the Uligers were recorded by Ts. Zhamtsarano, P. Baldanzhapov, N Poppe et al.

A special place in this galaxy of names is occupied by Manshud Imegenov (1849-1908), a hereditary Uligershin from the Kukunut ulus of the Kudinskaya Valley. In 1906, Ts. Zhamtsarano wrote down from him the most archaic and original of all known national versions and variants of the Gesariad - the epic "Abai Geser-khubun", as well as an unparalleled separate cycle about the sons of the hero: Oshor Bogdo and Khurin Altai (first published in 1930). Undoubtedly, he was an outstanding performer, a mature master, who managed to reproduce, without listeners, especially for recording, the traditional Ekhirit-Bulagat epic song, preserving the pristine freshness, beauty, power and charm of the ancient monument. Over the course of seven days and nights, he sang 22,074 verses to the collector, without shortening the “framing” invocation and farewell songs, traditionally performed to listeners. Scientists unanimously recognize the high artistic merits of this version; it was this version that formed the basis of the latest academic edition of the epic (Abai Geser... 1995. P. 8-418).

Buryat storytellers were not professional performers. Usually these were simple rural workers - cattle breeders, farmers, hunters. Epic tales were perceived from childhood, mainly in the family, less often from fellow countrymen. Over time, the repertoire expanded. The creativity of each uligershin developed within the framework of the inherited regional tradition and had its own individual style and originality. Talented folk storytellers preserved the entire local uliger repertoire in their memory, creatively developing and enriching it.

According to its stage-typological characteristics, the Buryat heroic epic is classified into three groups: Ekhirit-Bulagat, Ungin and Khorin. The first two include the uligers that lived among the Western Buryats: in the Kudinskaya Valley, the Upper Lena (Ekhirit-Bulagatsky, Kachugsky, Bayandaevsky), along the valleys of the Ida, Osa, Obusa rivers (Bokhansky, Osinsky), in the Angara region (Alarsky, Nukutsky), regions Irkutsk region, and in the third - the uligers of the eastern Buryats living in Transbaikalia (Buryatia, Chita region). In all three groups there are similarities in plot structures, motifs and images, since they are united by a common mythological fund and a single all-Buryat epic tradition.

The Ekhirit-Bulagat epic is considered the most archaic, since the features of the hunting way of life of the creators of the Uligers predominate in it; elements of totemism, animism, various cults, motifs of twinning with animal characters; werewolf (metaphorism), fairy tale motifs. In his stories, two central themes were developed: matchmaking and the hero’s marriage; fight against Mangadhai monsters and alien enemies.

An example of an uliger embodying the first theme is “Aidurai Mergen” (1868 verses), recorded by Ts. Zhamtsarano in 1908 from B. Burlaev in Verkhnelensky district. Its plot structure consists of the following links: 1) 15-year-old Aidurai Mergen is killed while hunting by a woman with zoomorphic features; 2) The horse advises the hero’s sister, the maiden Aguy Nogon, to bring the resurrection maiden - the daughter of Ezhi Munkha Khan; 3) Agui Nogon, dressed in men's clothing, hiding his brother's body in a mountain cave, sets off on a long journey; 4) Overcomes various obstacles: cold, heat; sometimes turns into a bird, sometimes into an animal; fraternizes, having saved them from death, with ants, frogs, a huge bird, and a dog; 5) Successfully passes the deadly tests arranged for the “groom” by the bride’s father thanks to the help of his brothers-in-arms and his horse; 6) Returns home with his “wife” - the resurrection virgin, and she goes into hiding; 7) The Khan’s daughter revives Aidurai Mergen; 8) The heroine returns home when her brother’s twins are born. A brother marries his sister to a stranger.

This type of uliger is very popular in the Ekhirit-Bulagat epic. The plot development of the theme of heroic matchmaking is distinguished in them by great diversity and at the same time by the stability of the main motives: the death of the hero, the campaign for the resurrection maiden, overcoming obstacles; struggle for the bride; reviving the hero. This is the simplest, one-part plot structure. The main character performing the feats is the heroic maiden - the hero's sister, and not the hero after whom the work is named. This plot-narrative type: “the sister gets her brother the betrothed-resurrectionist” is considered the earliest in the system of heroic-epic creativity of the Buryats. It is implemented in uligers: “Aidurai Mergen”, “Erzhen Mergen Khubun”, “Yagur Mergen Khubun”, “Altan Segse Khubun”, etc. The theme of fighting monsters and foreign enemies is usually absent from them or is a late addition. The main idea expressed in them is the struggle for the founding of a monogamous family, the establishment of exogamous marriage, characteristic of the heyday of clan society, which affirmed the primacy of men in the family and clan.

The theme of the fight against Mangadhai monsters and foreign enemies is developed in the Ekhirit-Bulagat epic with the intensification of the actions of the male hero and the weakening of the role of the sister ("Alamzhi Mergen", "Buhu Khara Khubun", "Gunkhabai Mergen", "Erensey", etc. .). The number of uligers is increasing, where the hero gets himself a wife. With the development of the uliger genre, with the gradual advancement of the hero-warrior, protector of the family and clan, the theme of matchmaking loses its leading role and becomes one of the elements of the epic biography of the hero. The plot structure of the narrative becomes more complex, and multi-component uligers appear. An example of a typologically mature epic is the Ekhirit-Bulagat version of the epic “Abai Geser-khubun” (recorded by Ts. Zhamtsarano from M. Imegenov), which traces the process of biographical and genealogical cyclization (the tale of Geser and his sons Oshor Bogdo and Khurin Altai). But in general, the features of the “hunting” epic, due to its proximity to mythological origins, dominate in the ekhirit-bulagat epic. The role of mythical zoomorphic, zoo-anthropomorphic characters - assistants, patrons, opponents of the hero - is still significant in it. The motives for the “difficult” assignments of the father of the bride are stable; fraternization with animals; helping them in wedding trials; supernatural abilities of the hero (magic and werewolf). The opponents and enemies of the hero are mainly mangadhai monsters with an incredible number (13, 33, 67, 77, 95, 108, 300, 500, 600, 1008) heads (sometimes horns). They destroy the hero's property and kidnap his wives. The hero goes on a campaign

alone, he has no warriors, bators. His struggle with the enemy is depicted in the form of a heroic martial arts.

In addition to the two main themes, the Ekhirit-Bulagat epic also traces the relationships between brother and sister, uncle and nephew, husband and wife, reflecting conflicts between members of the patriarchal family and clan. For example, in the uliger “Alamzhi Mergen” two plot-narrative types are realized: “A sister gets her brother a resurrection wife” and “Uncles ruin a nephew in order to take possession of his property,” relating to different cultural layers. Depending on evolutionary development, the attitude of a sister to a brother in uligers can be either positive or negative, hostile. Thus, in “Kharasgai Mergen” and “Shonkhodoy Mergen”, sisters kill their brothers in order to get married, but are subsequently severely punished for this by them, just like the traitor Untan Durai, the wife of Erensei (“Erensey”), who, having betrayed her husband, goes to his enemy - Mangadhai. The son who escaped death kills not only the Mangadhai, but also his mother. Geser subjects his wife Gagurai Nogon to a painful execution for treason. These uligers clearly demonstrate the struggle against the remnants of the maternal clan, the essence of patriarchy, which places the power of men above the blood ties that once closely bound members of the maternal clan.

These are the main features of the archaic Ekhirit-Bulagat epic, which represents the “lower layer”, the “original stage” of the heroic-epic creativity of the Buryats, but in the richness of motifs and images, surpassing all other Buryat traditions (Sanzheev. 1936. P. XXXV).

Such uligers were distributed mainly in the Ekhirit-Bulagatsky, Bayandaevsky, Kachugsky, partly Bokhansky, Osinsky districts of the Irkutsk region (Ust-Ordynsky Buryat Autonomous Okrug).

A different type of uliger existed in the Angara region: the valleys of the Ida and Osa rivers, the Alari and Unga steppes. Their recordings, made only on the left bank of the Angara since the 80s of the 19th century, revealed a rich folklore tradition that flourished there in the past. This region can be called the protected region of the Buryat epic: the total number of uligers collected there since the end of the 19th century. until the end of the 50s of the XX century. M.N. Khangalov, Ts. Zhamtsarano, G.D. Sanzheev, I.N. Madason, SP. Baldaev, A.I. Ulanov, N.O. Sharakshinova and others, consists of about a hundred texts, including twenty versions of the Geseriad, some of which have been published in recent years (Abai Geser. 1960; Burchina. 1990; Abay Geser... 1995).

The heroic-epic tales that existed on the left bank of the Angara were allocated to a special group called the “Unginsky epic” by G.D. Sanzheev (Sanzheev. 1936. P. 58.), since he recorded in 1928 from the storytellers N. Tuzhinov, A. Gelenkov and Sh. Savranov in the uluses of Srednyaya Kuyta and Bulut (the valley of the Unga River) five fairly large uligers: “Altan Shagai”, “Bulgan Tol-goi khubun”, “Five-year-old Tolei Mergen”, “Late-born Ulandai Mergen”, “Ere Tokholei Mergen”, volume from 1550 to 4314 verses and three small ones “Maiden Ereg Dureg”, “Maiden Alag Bulag”, “Old Woman Uzhaa” " - volume from 150 to 518 verses (KhVRK IMBiT SB RAS, G.D. Sanzheev fund, inventory No. 2224) differed in their genre and typological characteristics from the Ekhirit-Bulagat Uligers. The scientist believed that the Unginsky epic “represents the completion of the entire Buryat epic, and the Bulagat epic is its lower layer, its initial stage” (Sanzheev. 1936. P. 25). The bearers of this epic tradition, along with the Bulagats, were those who moved to this region in the 15th-17th centuries. from feudal Mongolia, the Khongodors, Zungars, Ikinats and Ashebagats, whose epic repertoire, reflecting developed social relations, undoubtedly influenced the local one, which was basically identical to the Ekhirit-Bulagat one. The formation of the Unga epic took place during the period when patriarchal-feudal relations began to take shape among the steppe Bulagats of the Angara region, who had already mastered cattle breeding (XIII-XVI centuries). (Ulanov. 1957. pp. 112-114, 159-160; Ulanov. 1963. pp. 204-205; Sharakshinova. 1968. pp. 30-34) and the ideology of the dominance of the paternal family, the era of military democracy, found their natural reflection in it.

Epic breadth, monumentality, pictorial richness and variety of content, complexity of form are the hallmarks of Unga's heroic epics. The thematic and genre range, plot and event coverage in it is much wider than in the Ekhirit-Bulagat and Khorin epics. For the most part, these are multi-component, multi-plot works, consisting of 2-3, 4-5 and 6 moves (parts), with the exception of the multi-cyclic (genealogical cyclization) heroic epic about Geser.

If the main content of the Ekhirit-Bulagat epic was the heroism of the struggle for the narrowed one and the “military” theme was mainly associated with it, then in the Unginsky heroic pathos switches to the fight against predatory raids and thefts, for the release and return to their homeland of captive household members, subjects, captured property, and marriage, the founding of a family, which was a super task in the archaic tradition, fades into the background, becoming only an “initial situation”, a necessary condition for the beginning of heroic activity (Sanzheev. 1936. P. 37). Thematically, the Ungin uligers are divided into four groups: 1) about heroic matchmaking, the fight against the Mangadhai, foreign khans and bators; 2) about the hero’s struggle with blood relatives (about intraclan and family conflicts); 3) about the struggle of heroic maidens with the Mangadhai monsters (about the matchmaking of the Mangadhai); 4) about revenge on the horse-bator who destroyed the herd.

The combination and artistic realization of two themes in one work is a characteristic feature of the Unga epic tradition, where the first part of the narrative is usually devoted to matchmaking and the hero’s marriage, and the second to the fight against enemies. The connecting thread between both parts of the majority of uligers is the plot (theft, theft of herds and herds, the destruction of the hearth; the removal of household members and subjects; sometimes a challenge by the hero’s enemies to a duel), which finds its resolution in the finale of the second part (the hero’s destruction of the enemy, the return of the stolen , restoration of peace and tranquility). The plot structure of the Unga Uligers consists mainly of the following motives: leaving home to inspect herds and herds (sometimes the departure is not motivated by anything); detection of shortages, theft of herds and livestock. Option: the herds and herds have multiplied in countless numbers and the hero is saddened - who will the property go to? If the hero is a childless old man, then sadness over the fact that there is no one to take revenge on the invaders and return the stolen property; asking childless spouses from patron deities for offspring; the miraculous conception and birth of their son; naming a child an old man; the wonderful growth and maturity of the young hero, childhood exploits; the young hero acquiring heroic status (asking the heavenly patrons for a horse, weapons and clothing; taming, riding around a heavenly horse; boasting of the rider and horse’s heroic strength); the hero's decision to find his betrothed and get married; determining her name and location; preparations for the hike and heroic excursion; heroic riding.

Overcoming obstacles: the endless sea, impenetrable thicket; fiery lava; climbing to the highest mountain peak, where there is “living” water (lit.: “black”, that is, clean, transparent, life-giving water of eternity - munheen hara uhan) and medicinal tree (plant); the revival of people and animals who died on the mountainside with this water; crossing the edge of heaven and earth (the edges where heaven and earth meet); rise to heaven; descent underground.

Meetings and adventures along the way: the punishment of the bators who boasted of their imaginary superiority over the hero; providing assistance to animals (roe deer, birds) and fraternization with them, to a foreign bator and fraternization with him; fraternization with heroes defeated in battle; the death of the hero on the way to his betrothed (from exhaustion, from an arrow from an opponent in matchmaking); the hero is thrown into a dungeon well (evil, treacherous uncles, brothers-in-law, older brothers); turning the hero into stone; revival of the hero (horse; heavenly cuckoo maidens), betrothed-resurrectionist, three foreign healers (Tibetans); the hero himself reviving the bators he killed; the horse obtains the betrothed resurrector for the deceased hero; substitution of the bride (marriage to an imaginary betrothed); fight for the bride (competition with rivals in shooting, horse racing, wrestling); marriage and return to homeland; kidnapping of wife on the way to home; the hero’s home destroyed by the enemy; household members in captivity of the enemy (Mangadhai or foreign heroes, khans); going against the enemy; the birth of a son (or twin sons); the hero’s struggle and victory over his opponents (Mangadhayas and foreign warriors). Destruction of the Monster of the Black Woman - the ancestor of the Mangadhai; the hero's young son asks his mother where his father is; goes on a hike after him; assistance to the hero from his brothers-in-arms, heavenly patrons; sons; search and destruction of the enemy's soul; the pursuit of the soul (the chain of transformations of the pursued and the pursuer into birds, fish, grain, plants and people); destruction of an unborn baby (one or two) that fell from the womb of the enemy's wife.

As a rule, the first part of Unga's epics, dedicated to the theme of heroic matchmaking and marriage of the hero, is distinguished by the richness and variety of plots and motifs, and the complexity of the composition. The evolutionary development of uligers at a new stage occurs due to the expansion of their plot structure, a qualitatively different interpretation, rethinking, or replacement of traditional key motives: obstacles on the way, road meetings, twinning, the death of a hero, marriage trials and the introduction of new motives and episodes (sometimes plots) , mainly from a fairy tale, as a result of which the epic narrative changes its tone, acquiring the character of entertainment, playing out the miraculous, which, however, does not change the genre specificity of the works. The main theme in uligers remains heroism, and not fairy-tale fantasy.

Unlike the archaic tradition, the struggle for the betrothed in the Unga epic is waged by the hero himself. The plot type “Sister gets her brother a resurrection wife” is extremely rare (only in two uligers: “Khan Segse Mergen”, “Bogdoni Khubshe Mergen and sister Boylon Gokhon”) and functions in uligers related to the theme of the struggle of blood relatives.

The motivation for going out to pick up a bride is also being rethought. Marriage is justified by the need to have an heir to property, an avenger and a successor to the business in the event of one’s death. The hero learns the name and location of the distant bride either from his mother, daughter-in-law (brother’s wife), or from the yellow book of fate-zayan (zayanai shara nomo; pudar). Usually this is the daughter of a khan or a celestial being, who has the ability to “resurrect the dead, enrich the impoverished,” as well as the art of transformation (werewolf). Along with the mythological in the Unga epic, quite realistic features are also idealized in the images of women: beauty, wisdom, devotion to her husband, art in sewing, expressed by the typical formula: “I sewed ten [clothes] with collars from palm-sized silk; from finger-sized silk I sewed twenty [robes] with collars."

In most uligers, the hero gets his betrothed in competition with other suitors, having proven his superiority in wrestling, archery, and horse racing. Sometimes the future father-in-law gives the groom a disastrous task. Thus, the hero of the uliger of the same name, Khukhosei Mergen, having won three competitions, is forced, by order of the khan, to go on a campaign for yellow bile. (ballhulehen) monsters Gal Dulme Khan (lit.: Khan of Fire and Heat).

On the way, he meets the alien warrior Khuherdey Mergen, who died in the fight against this monster. He lies under a pine tree, where the bones of other bators lie white. The hero turns into a hawk and forces the ravens flying past to pour “living” water from their beaks onto Khuherday Mergen. The hero comes to life, and with him all the dead bators and warriors. The pine tree becomes evergreen. Those who are alive thank Khukhosei Mergen and wish him to defeat Gal Dulme Khan, whom they could not cope with.

The hero fraternizes with Khuherdey Mergen and, at the head of 33 bators and 300 warriors, heads towards the monster. Before the battle, turning into a fly, he looks out for the situation in the enemy’s camp, and then, with his squad and army, defeats the bators and warriors of Gal Dulme Khan and enters into battle with him. The monster radiates fiery heat and flames at him. Khukhosei Mergen defeats the enemy with the help of heavenly deities - the head of the western (right-sided) celestial beings Esege Malan Tengri and his creator-patrons, who strike the monster with lightning, unleash stone hail and bloody rain.

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

The hero of the uliger of the same name, Arnai Gerdei Mergen, overcomes the endless sea in his campaign for his betrothed. A horse that has died from fatigue is revived by “living” water brought from an inaccessible mountain peak by a sister bird. He manages to slip through the momentarily diverging edges of heaven and earth to the other side, where the bride lives. His future father-in-law subjects him to tests: he sends him to a cold and then a hot barn; proposes to pierce with one shot three-layer felt, a black stone the size of an ox, seventy sleighs of firewood and get into the hole of the golden disk. On the way to the house, the wife is kidnapped by Mangadhai. The hero goes underground after her, turning into a huge snake Abarga, defeats the monster with the help of his hero-brother. Then, protecting his wife, he rises to the sky, turning into a hawk. Thanks to his agility and speed, he can withstand a duel with a celestial being who seeks to strike him with thunder and lightning. The discouraged celestial gives his daughter in marriage to the hero.

The hero of another uliger, Ere Tokholei Bator, in the fight for his betrothed, first destroys with a bow shot the entire army of his rival - the son of the 105-headed Biting Yellow Mangadhai (Zuudag Shara mangadhai) - Erhe Boyrek khubun, and then defeats him in single combat.

Similar stories on the themes of matchmaking and the hero’s marriage, where the struggle for the betrothed continues to be interpreted as a heroic, military feat, and the traditional motives of overcoming obstacles, twinning, and marriage trials take on more realistic outlines, are characteristic of the Unga tradition.

Compared to the previous one, they show an increase in the range of the hero’s exploits and an expansion of the spatial boundaries of the hero’s locus. The action sometimes takes place not only on the earth, underground, in the sky, but also outside the earth and sky.

The heroes of such stories often leave for their betrothed only after acquiring heroic status. Usually these are late-born sons of elderly parents (“Khukhosei Mergen”, “Arnai Gerdei Mergen”, “Ulandai Mergen”, etc.).

The heroes of the uligers with a purely fabulous development of the theme of heroic matchmaking are, as a rule, the youngest of the three brothers: fools and slobs, promising idlers (“Bulgan Tolgoi Khubun”, “Altan Shagai and Mungen Shagai”, “Khokhor Bogdo Khan”, “ Erbad Bogdo Khan").

Thus, the low-status hero of the uliger of the same name, Bulgan Tolgoi khubun (lit.: “Sable-headed fellow”), the only one of the brothers, fulfills the will of his parents (to pray in three nights at their graves) and receives magic mirrors, three Savras horses and a parental blessing. Thanks to this, the slob wins the grooms' competition (he tears the bride's golden ring from the sky after jumping on a horse) and marries the khan's daughter. The snotty man reveals his hitherto hidden heroic appearance only after he is chosen by the princess as her husband.

The second part of this uliger is dedicated to the heroic struggle of Bulgan Tolgoi khubun with his wife kidnapper - Mangadhai, living in the underworld.

In the uliger "Erbed Bogdo Khan" the eyes of an old father disappear, and then his three daughters. The eldest sons, having gone in search, become victims of the cunning of road pests. Only the youngest son, the fool Paakli, returns the loss and marries a powerful sorceress, the daughter of a celestial being. Having overcome the magical barriers that she established on the border of her possessions (malicious hagshaa witches, iron heroes, hawks, magic signal strings), the hero removes the golden ring from the sorceress sleeping in her palace.

The fool Paakli magically turns out to be stronger and more cunning than the kidnapper and she, having failed, becomes his wife; returns her father's eyes, placed in a vessel with living water, removes the spell from the sisters, whom she had previously turned into guardians: witches-hagshaa.

Another type of plot development of the theme of marriage is realized in the epic “Altan Shagai Mergen”, popular among Western Buryats. A brief summary of one of its many variants, recorded in 1928 by G.D. Sanzheev from the Unga storyteller N. Tuzhinov (volume 3674 verses) comes down to the following:

Altan Shagai Mergen receives a challenge to a duel from Nine fellows Gabshuu - the grandchildren of the Black Woman Mangadhai (Eme Khara mangadhai - lit.: "Black Female monster"). Having postponed the duel for 10 years, the hero goes after his betrothed, the daughter of Bayan Monhe Khan, who knows how to “revive the dead and enrich the impoverished.” On the way, he dies from the arrow of a foreign hero - a rival in matchmaking, but manages to mortally wound him too.

On the advice of the magic cuckoo, the hero's horse turns into a wonderful pacer in the khan's herd and kidnaps his betrothed resurrectionist. She revives Altai Shagai Mergen and, turning into a golden hawk, flies home.

Altan Shagai Mergen revives his opponent with a wonderful stone and fraternizes with him. Arriving at Bayan Monhe Khan, he wooed his daughter. The hero's betrothed sends a maid to see what the groom is like. She deceives the princess: she says that he is old and ugly. Then the bride turns into a hawk and flies away.

The cunning maid offers the confused khan and khansha to wash her in a bathhouse, perfume her, dress her in princess clothes and marry her instead of her daughter.

The hero marries an imaginary betrothed. On the way to the house he makes a stop. The wife walks at the khan's feasts. The princess arrives and, having assumed her real appearance, sews clothes for Altan Shagai Mergen. The maid's deception is soon revealed, Altan Shagai executes her and unites with his true betrothed.

The emergence of new conflicts in the development of the matchmaking theme - the substitution of the betrothed, the struggle between the maid and the mistress, the kidnapping of the princess by a horse instead of the traditional “difficult tasks” given to the groom by the bride’s father; The struggles of the heroic maiden - the hero's sister for his betrothed-resurrectionist - significantly change the tone of the story, giving it the character of entertainment. The image of a deceitful, arrogant servant who does not shy away from intoxication creates a number of comic situations in him, introducing a living stream of folk humor into the heroic content of the uliger.

Instead of a chain of interconnected motifs and episodes that consistently reveal the theme of heroic matchmaking in the archaic tradition, in Unginsky the artistic structure of the uliger grows, branching into completely independent plot-thematic blocks (types): “The horse gets the hero his betrothed-resurrectionist,” “The maid deceives his betrothed.” and marries the hero,” which are freely “edited” into the plot composition of other Unginsky uligers (“Five-year-old Toley Mergen,” “Altan Gasuu,” “Ermey Bogdo Khan,” “Haidar and Buidar”). In addition to them, the following plot block functions in the Ungin epic: the hero, in the guise of a poor wandering shepherd, becomes the husband of the khan’s daughter and fights with the khan’s deceitful brothers-in-law, who appropriate his merits, which is realized in the uligers: “Altan Shagai and Mungen Shagai,” “ Altan Gasuu" and others.

The change in the traditional motives of twinning and testing the groom in “Altan Shagai Mergen” indicates their transformation towards a realistic reflection of reality, overcoming mythology. The archaic motive of the hero’s death also changes in it, which forces him to act not from his sister-hero, as in the Ekhirit-Bulagat epic, but from his horse.

The weakening of heroic motives in the story of the marriage of Altan Shagai Mergen is compensated by their strengthening in the second part of the tale, where the hero fights the Mangadhai - the Nine fellows of Gabshuu, who, having violated the agreement, in the absence of the hero, attack his possessions, steal cattle and herds and take the household into captivity and subjects. Altan Shagay goes on a campaign against his enemies. On the way, Boybor defeats the Three Young Men - the sons of the Black Baba-man-gadhaika.

At the foot of Mount Oriel Nine fellows of Gabshuu are waiting for the hero. Altan Shagay Mergen enters into battle with them, but the forces are unequal. The heavenly deities send his brother-in-arms to help, but even together they cannot defeat the Nine Young Men of Gabshuu. Then the celestials predetermine the birth of two twin sons to the hero’s wife. They acquire heavenly horses, weapons, clothes and, having become heroes, go on a campaign for their father.

Together with his brother-in-law and his sons, the hero defeats the Mangadhai in single combat, burns their corpses, and scatters their ashes. Marries his sons to beauties who helped him; frees his brother and daughter-in-law from captivity, destroys the nest of the Mangadhai led by their ancestor - the monster Black Baba, and returns to his homeland, taking his property and subjects. Lives with his sons calmly and happily.

A similar plot development of the fight against the Mangadhai is typical for many Unginsky uligers, which tell about two (less often three) generations of heroes (father - son - grandson), where the decisive role in the outcome of the battle belongs to the sons - defenders and successors of the father’s work, although help is provided by his heavenly patrons, brothers-in-arms, and sometimes well-wishers from the enemy camp.

The main opponents of the heroes in the Ungin epic, along with alien warriors, as in the previous tradition, continue to be the Mangadhai monsters, the ancient mythological images of which in the heroic tales of the Buryats are presented at different stages of evolutionary development.

In the archaic Ekhirit-Bulagat epic, these are terrible, fantastic monsters with an exaggerated multitude (tens, hundreds, thousands) of heads and pole-shaped horns, personifying their strength and vitality. In the absence of names, mangadhai differ in the number of these attributes, as well as epithets that define their characteristic features: 108-headed Biting Yellow mangadhai (Zuudag shara mangadhai), 13-headed Asurai Yellow mangadhai (Asuurai shara mangadhai), where the meanings of the words are: "Asuraic (Sanskrit. asura- demon; evil spirit), "Zuudag" - biting, biting" (Buryat, zukha- grab with teeth; hold in teeth; bite [about a dog]), indicate the hostile nature of these images to humans.

Mangadhai are capable of drawing a stream of air into their huge mouth, indiscriminately swallowing everything living and inanimate. Crowds of people, herds of horses and herds, carts with firewood, carts with flour, etc. usually emerge from the inside of the monster killed by the hero. Sometimes the Mangadhai are depicted as cannibals living in the underworld (“Osodor Mergen”). The images of Mangadhaya women bizarrely combine zoo-anthropomorphic features. This is the old Mangadhai woman - the daughter of the 500-headed, 50-horned Old Mangadhai, who has “a very white head, a large sharp-edged chin, a single tooth in her mouth, a single eye on the top of her head and a sharp white beak” (Abai Geser the Mighty... 1995; verses 5433-5437, 7212-7222.) The constant attribute of these old women is the “thousand-fat” white leather scraper (mitan sagaan hederge). Spellbound by her mistress, she, trying to destroy the hero, is able to pursue him, sweeping away all obstacles along the way.

Demonic old women also act as “travel pests”, treating the uliger heroes with poisoned (wormy) tea. In the Ekhirit-Bulagat version of the Geseriad, they fight the hero, avenging the death of their many-headed Mangadhai relatives. Through cunning intrigue and deceit, one of them turns Geser into a horse and takes his wife to her son.

Mangadhai in uligers are always related by kinship and form one large family, headed by the eldest maternal grandmother in the family (yehe kholkhi tooday), or an aunt who keeps the souls of monsters. They feed their sons and grandchildren, exhausted in the fight against the hero, with their breast milk.

In the Unga epic, the ancestor is the mighty Eme Khara mangadhayka (lit.: Black female monster), who has anthropomorphic features: eyelids falling over the nose, hanging down on the navel of the chest, a thick belly falling to the knees. The hero usually finds her dressing elk skins with a black iron leather grinder-scraper, with which she lifts her eyelids to see the newcomer, and then tries to kill her, avenging her dead relatives. Like her archaic predecessors, the monstrous Baba is evil, aggressive and possesses not only enormous physical strength, but also magical abilities (with a blow of her leather grinder she turns uliger bators into wild animals). With great difficulty, the hero manages to defeat her in single combat, often thanks to the help of his sons and brothers-in-arms.

According to SY. Neklyudov “this class of characters goes back to the images of demonic matriarchal “mistresses” of archaic mythology or varieties of the chthonic mother goddess...” (Neklyudov. 1984. P. 115).

In the process of development of the uliger genre, there is a gradual evolution of the images of Mangadhai towards anthropomorphization. Their multi-headedness becomes rudimentary. In the later records of the Unginsky uligers, there is a tendency to depict multi-headed monsters in the form of comic, stupid simpletons (some of their heads tell fairy tales and uligers, others sing songs, the rest ask riddles). In the Ungin epic, the Mangadhai are mainly called “khubuns” (hubuun- son, guy, well done, daredevil), that is, well done, daredevils - descendants of the Black Woman-monster. In their actions and deeds, their way of life, they do not differ from foreign enemies: heroes and khans; live in palaces, have an army, bators. They oppose the hero not individually, but together and differ only in their number and nicknames: Three young men Boybor (Gurban boybor khubuud), Nine Guys Gabshuu (yuhen gabshuu khubuud), where are the definitions "boybor", "gabshuu" have meanings: dexterous, nimble, nimble, agile. The single-headedness of these Mangadhai is especially emphasized.

These representatives of the hostile world in the uligers usually live in the mythical country of Khonin Khoto, located in the north, northeast, in a deserted windy land from where there is no return. In some uligers, mangadhai appear from water (river, sea) or the underground (lower) world (dodo zambi). In the archaic Ekhirit-Bulagat version of the Geseriad, multi-headed monsters are located in the dark, northern part of the sky, and in the Ungin versions of the epic, which are later in their formation, the story is told about the appearance of the Mangadhai on earth from the body parts of the head of the evil eastern (left-sided) celestial beings, Atai, dropped from the sky Ulan Tengri (Abai Geser... 1995. Poems 4545-4554; Burchina. 1990).

In the Unga epic, the fight against the Mangadhai is no longer random, as before, but is an integral part of the heroic deeds of the hero, who defends his property, family and tribe from their predatory raids. Much less often, the reason for the fight is rivalry in matchmaking or kidnapping of wives.

Detailed formulaic descriptions of this struggle (martial arts, group fights, duels with archery, battles with the participation of warriors and combatants) occupy a significant place in the heroic-epic tales of the Ungin people. The military qualities of bators and mergens are clearly manifested in them. The epic idealizes male heroes, whose superior qualities are determined by the epithets included in their names: baatar- hero, warrior; mergen - lit.: marksman; khubuun- in a figurative meaning - a daredevil, a young hero, a young warrior; era- lit.: male, man. In the epic it is used to mean: strong, courageous, brave man, warrior.

Along with heroic martial arts, where the outcome of the battle is decided by superior physical strength or with the help of weapons, the hero uses his supernatural powers and abilities (magician, sorcerer, werewolf), which his opponent also possesses. This usually happens in the fight against a particularly strong invulnerable monster, the Mangadhai, which can only be defeated by first destroying its “external” soul. (amihulde khoyor- lit.: breath and [vital] force, energy) stored in an inaccessible place; or by hitting a vulnerable “point” on the enemy’s body, which is the center of his soul. In multi-headed Mangadhai, this is usually one "main" whitish head located in the middle of its many heads, or a birthmark between the shoulder blades on the back, or the pupil of the "central" white one of the monster's hundreds of thousands of dorsal eyes. In the Ekhirit-Bulagat version of the Geseriad, the analogue of the soul of an invulnerable baby, the son of a monster, is a miraculous thread stretched from the sky through which water flows, saving him in a hot barn.

Plots about obtaining, catching, destroying a soul, and chasing it, based on the animistic views of the creators of the epic, represent a wide variety in the heroic-epic tales of the Buryats. The soul, presented as a material phenomenon, usually has the appearance of quails in the epic works of the Buryats (budene), sometimes quails and partridges, quails and wasps. Their number varies: 12, 13, 22, 23, 26 and they are in a golden box, which in turn is in a silver box, enclosed in a wooden or iron box and hidden in the stomach of mythical animals (three-year-old toad, wild pig) that live at the bottom of the poisonous (yellow) sea, or are kept by grandmothers or older aunts of the Mangadhai monsters. In one of the Ungin versions of the Geseriad, the souls of the three Sharablin khans - the enemies of Geser - look like white and silver butterflies and are in a box on the very top floor of their palace. And in the Ekhirit-Bugat epic “Erensey” the soul of the Mangadhai in the form of a yellow stone is hidden in the knife-like feather of the right wing of the huge bird Khan Kherdeg.

Obtaining the enemy's soul is always associated with cunning, magic, and werewolf. The hero usually comes to the guardians of the souls of the Mangadhai, turning into their “grandson”. Then, having magically put them to sleep, he breaks the boxes and catches the scattered birds with the help of his magical art: releasing a biting frost, he collects the rays of the sun on his right palm, and with his left he destroys the quails that have flown to the warmth.

Sometimes the soul, fleeing persecution, successively turns into animals, plants, fish, etc. The motive of the chase, based on the idea of ​​the metamorphism of the soul, is widespread in the epic of the Ekhirit-Bulagats. The most developed and colorful chase plot is found in the epic “Abai Geser-khubun” (“Abai Geser the Mighty”) by the Ekhirit-Bulagat storyteller Manshud Imegenov, where the hero pursues the soul of the Long Red Mangadhayka (Uta Shara ezy).

Twenty-six quails fluttering out of the box successively turn into roe deer, growing millet, small fish, and Geser, exterminating them, respectively, into a gray-gray hawk, nine gray sky wolves, nine soldiers, nine pikes. And when the last fish turns into thirteen quails, he directs the rays of the sun onto the withers of his horse, the rays of the moon onto his croup; causes bloody rain, stone hail and destroys flocked birds.

In the Unga epic tradition, in the plot of a chase with transformations, the hero can be replaced by his arrow, and the pursued soul can be replaced by its owner, a foreign hero (uliger “Altan Shagai Mergen”). In the epic of the Ungin people, plot collisions of searching and obtaining a soul, rather than chasing after it, are more popular. Thus, in the uliger “Late-born Ulandai Mergen” (Orey khenze Ulaandai Mergen; 3307 verses; recorded by G.D. Sanzheev in 1928, in the Srednyaya Kuyta ulus, Nukutsk region, Irkutsk region) the hero and his antagonist, the One-Headed Mangadhai Erhe Boyber Khubun , unable to defeat each other in single combat (since both are invulnerable), they set out in search of souls, the whereabouts of which they learn by exchanging their books of fate-zayan.

Mangadhai turns into a yellow-spotted wasp and observes the habits of the hero's wife, the beautiful Shara Seseg abhay. Then, ascending to heaven, he takes on her appearance and asks the supreme celestial goddess Manzan Gourman grandmother for the soul of “her husband,” supposedly to “strengthen” her. And Ulandai Mergen, turning into a huge Abarga fish at the bottom of the poisonous sea, conjures his magic weapon - the heavenly crystal blue “stone”-jewel (molor huhe erdeni), to tear open the belly of a wild pig and carry the box with the soul of Mangadhai to the shore. Then he destroys twelve quails, frozen from the cold, when they fly into his palm towards a ray of sunshine. At that moment, Mangadhai, who was about to receive the bottle (lonkho) with twelve quails (the soul of Ulandai Mergen), falls dead from the sky and breaks.

In the Unga epic tradition, such stories on the theme of searching for and destroying the enemy’s soul take on a fabulous, entertaining character.

In the later stages of epic creativity, representatives of the hostile world are depicted as more powerful than their archaic predecessors, endowed with supernatural strength and invulnerability. The hero cannot defeat them either in single combat or by force of arms. In the Unga Geseriad, this is the monster Gal Dulme Khan (lit.: Khan of Fire and Heat), who has one hundred thousand eyes on his back, forty thousand eyes on his chest, a star-white eye on the top of his head, destroying all life on earth, bringing drought and pestilence; devil Sharem Minata alban shulma (lit.: devil with a cast-iron whip), living on the other side of the land of death; Lobsogy Black mangadhai riding an iron-blue horse. All of them originate from the body parts of the evil Atai Ulan Tengri, the head of the left-sided (eastern) celestial beings, who opposed the right-sided (western) good deities, thrown to the ground. Geser destroys enemies with the help of his patrons - Western heavenly deities: He strikes Gal Dulme Khan in a vulnerable spot - the pupil of a star-white eye on the top of his head, where his soul was kept, and his unborn (uterine) son - an invulnerable iron-bodied baby - is melted by the heavenly blacksmiths into iron barn; the invincible devil Sharem Minata, who apparently personifies death itself, is cut into pieces by the magical wooly twig of the supreme celestial Manzan Gourmet grandmother; and the immortal, soulless Lobsog Black Mangadhai is imprisoned in a deep dungeon with guards who do not allow him to leave there.

In the epic, the Mangadhai, as the worst enemies of people, are always destroyed, their bodies are burned, and their ashes are scattered. In their origins, these images belong to the most ancient layer of epic mythology. According to A.I. Ulanov, amorphous, vague images of multi-headed, multi-horned, multi-eyed monsters, combining the characteristics of humans, predatory animals, birds, and spontaneous destructive forces of nature, arose at the stage of fetishism and continued their formation at the developed stage of animism (Ulanov. 1963. pp. 162, 168-169).

Etymology of the term mangadhai, having different phonetic variants (mangus, mangad, mangaa, jal-maus, moos) the widespread occurrence in the epic of the Turkic-Mongolian peoples, as well as the genesis of this folklore and mythological image, remain unclear in science. Perhaps the opinion of G.D. Sanzheev, who believed that under the images of these monsters in the Buryat epic, people of a foreign tribe are caricatured (Sanzheev. 1936. P. 29), is not without foundation, since the tradition of identifying representatives of other tribes and peoples with the word “mangad” existed, in particular, among the Western Buryats and Kalmyks. It is possible that in later historical periods, depending on the circumstances, this ethnonym could be used in a negative way, demonizing the image of an alien enemy.

A fairly large group in the heroic-epic works of the Ungin people is represented by the Uligers, the plot of which is built on the antagonism of members of the patriarchal family and clan: the struggle of older sisters with brothers, older brothers with younger ones, uncles with nephews, parents with sons, daughters-in-law with sisters-in-law, older sons-in-law of the khan with a low-status poor son-in-law (“Haidar and Buidar”, “Khan Segsey Mergen”, “Ere Habtas Mergen”, “Amagalan Bogdo Khan”, “Bogdoni Khubshe Mergen”, “Five-year-old Toley Mergen”, etc.). Compared to other thematic groups, they more fully reflected the ideology of the era of military democracy, the transition to a new type of economy - cattle breeding, the strengthening of the power of men in the family and clan, the emergence of property and social inequality in ancient society. Mortal struggle, deceit and betrayal of blood relatives are motivated in these uligers by the desire to seize property: livestock, herds, subjects, and not by the marriage of a sister as in the archaic tradition. The winner is always the male hero (younger brother; nephew), who cruelly punishes his traitorous relatives.

In this group of uligers, the popular image of the heroic maiden, the younger sister of the hero, traditionally acting as his savior in the Ekhirit-Bulagat epic, undergoes transformation in this group (plot type “Sister gets her brother a resurrection wife”). At the new stage of development of the epic, with the glorification of the image of a male hero, she loses this function, which passes to the hero’s horse. In the Unga uligers, on the theme of the struggle of blood relatives, a new fairy-tale plot appears about the defenseless younger sister of the hero, persecuted by evil daughters-in-law, who has completely lost the heroic traits of a heroic maiden.

Uligers telling about the relationships and conflicts of family members and clans are distinguished not only by rethinking, changing the interpretation of archaic motifs, but also by enriching them with new plots, episodes and images; expansiveness and complexity of the narrative structure.

In contrast, the uligers about the struggle of heroic maidens with the mangadhai who came to them with matrimonial purposes are small in volume: “Maiden Alag Bulag” (518 verses), “Maiden Ereg Dureg” (252 verses), the narration of which is distinguished by a humorous coloring, and also uliger "Seven famous Savras mares" (Suutyn doloon hulagshan)(1233 verses), telling about the death of a herd from a foreign warrior-invader and its leader - a Savras mare, saving her foal at the cost of her own life.

The Unginsky Uligers represent a higher stage of development of the Buryat epic with an emerging tendency towards liberation from mythological views. But they still contain many elements of the hunting epic and animistic ideas. Heroes are traditionally endowed with miraculous abilities (werewolfism, magic).

The formation of the Unga epic tradition was determined by the socio-economic processes that took place during the decomposition of clan society. The epic tradition of the Ungin people shows that the interests of the material order, the seizure of other people's property, become in many ways the root cause of the contradictions that arose in society.

The further development of the heroic-epic tales of the Buryats is demonstrated by the Khorin Uligers, the creators, keepers and performers of which were mainly representatives of the most numerous Khori tribe, living in the steppe and semi-steppe regions: along the valleys of the rivers Uda, Kurba, Khilka, Chikoya, Onon, the right bank of the Selenga; in the steppes of Kudara, Tugnui and Aga - favorable for breeding cattle, horses, camels, sheep and goats. Those who moved to the Selenga basin in the 17th century also lived together with the Khorin people. Mongolian clans of Atagans, Tsongols, Sartuls, Uzons, Khatagins, Tabanguts, as well as small groups of Bulagats and Ekhirits (in Ivolga, Orongoy, Tugnui, Mukhorshibiri, Eravna), who undoubtedly brought their archaic epic traditions (sets of plots, images, motifs).

According to historical sources, the main occupation of the Transbaikal Buryats in the 17th-18th centuries. there was nomadic cattle breeding in the complete absence of arable farming. Hunting also no longer played a big role in the economy. (Sanzhiev, Sanzhieva. 1999. P. 42). The separation of cattle breeding into a special branch as a specific independent production inevitably pushed the growth of new social relations, increased property inequality, and the emergence of an embryonic tribal aristocracy. This process was also facilitated by ancient connections, the proximity of the Khori-Buryats with Khalkha, and the presence in their life of features of the later feudal-Mongol culture. As A.I. writes Ulanov, “among the Hori, the 17th century is marked by many signs of class society: differences in property, the power of leaders, the beginning of the penetration of Buddhism, etc.” (Ulanov. 1974. P. 69).

The originality of the natural-economic, historical, social conditions of life and life of the Khorin people was clearly reflected in their epic, defining the typology of its artistic body, which gave rise to its separation into a separate stage formation.

The first recordings and publications of the epic works of the Hori-Buryats, begun at the end of the 19th century. G.N. Potanin (a retelling in Russian of the uliger “Bolod Khurai”), were continued by A.D. Rudnev (prose texts of the Uligers “Lodoy Mergen”, “Shoroltor Mergen”, “About old man Zhibzhen” with translation into Russian) (Rudnev. 1913-1914), Ts.Zh. Zhamtsarano, B. Baradin (uligers “Khashagta Mergen”, “Nayantai Mergen”); in 1929 - G.D. Sanzheev in the mountainous Oka (“Bogdo Khubshe Mergen”, “Ere Sogto Mergen”), in 1934 - N.N. Poppe ("Bator Shono Galdan", "Ulan Nuden Buidan").

Of particular value among them is the collection of Ts. Zhamtsarano, consisting of nine uliger texts recorded in 1908, in Khara-Shibiri, from the 63-year-old storyteller Bazar Galdanov, an expert in the epic tradition of the Khori-Buryats ("Manyelte Mergen", "Heeder Mergen ", "Saazuunay khubun", "Dolooliin luugaa basagan" (Maiden of Dololin Luga), "Namuunay khubun", "Zhibzhelte Mergen", "Tumer Boldor", "Shulun Boldor", "Khan Khashagta Mergen").

A significant number of uligers were recorded in the 30-50s of the 20th century. A.N. Stepanov: “Twelve-year-old Altan Ganzhudai” (917 verses); “Fifteen-year-old Abaday Mergen” (580 verses); "Unchen Zhagar Bogdo Khan" (832 verses); "Unkhelseg Bator" prose-poetic text; "Bogdo Bugter Khan" (600 verses); "Bator Shono Galdan" (1500 verses); "Muu khubun" (716 verses), etc.; YES. Alekseev: “Lodoy Mergen”, “Huraltor Mergen riding a brown horse”; S.P. Baldaev, N.O. Sharakshinova, P.B. Baldanzhapov, G.O. Tudenov, Ts.-A. Dugarnimaev and others in the Selenginsky, Bichursky, Kizhinginsky, Khorinsky, Eravninsky, Mukhorshibirsky aimaks of Buryatia and the Aginsky Buryat Autonomous Okrug of the Chita Region.

These records show that the epic tradition among the Transbaikal Buryats was alive almost until the end of the 20th century, despite the process of its extinction that apparently began in the middle of the 19th century.

Compared to the Western Buryat ones, the Khorin uligers have mainly a mixed prose-poetic form, and therefore their execution was distinguished by deep originality. According to Ts. Zhamtsarano, the narrative part of them was told by the narrator in “recitative”, and the monologues and dialogues of the characters were sung. “At the same time, those present, most of whom have already sung, sing in chorus after each line the corresponding refrain - “turilg, e” (from the word mypixy - push). Each speaking person in the uliger: hero, mangatai, horse, beast, arrow - has its own motive and its own refrain, characterizing the speaker.” (Zhamtsarano. 1918. pp. 25-26). These choruses were sometimes accompanied by playing string instruments (hure or scimitar).

The lively participation of listeners in the performance of uligers among the Khori-Buryats was thus expressed in the vocal second following the narrator of short couplets or quatrains (choruses-formulas) stable in their composition and structure, which do not have a coherent semantic content, but obviously serve as a means phonosemantic characteristics of a specific image of an epic character, from the person who performed it. So, the refrains are the formulas of the heroic horse: “True, Trojan!” or “Turya-ee turyanza, turyahysa-ee turyanza!” are undoubtedly onomatopoeic variations of the word turyaha- snort, and turelge dogs: "Gangyaanuur, gangyaanuur, gangyaa gangyaanuur!" comes from the word ganganaha- whine.

A feature of the Khorin epic is also the vocal monologues of the heroes, in which they express their feelings and experiences experienced at critical moments.

Along with prose-poetic, Khorin uligers have a poetic form, performed both in a drawn-out melodious manner and in a declamatory, recitative manner (Ulanov. 1974. P. 73). They are small in volume (from 500 to 2000 verses) and are more like a brief retelling, since in the process of fading of the uliger tradition they lost many traditional features of style, composition, artistic expression (abbreviation of epic cliché formulas, etc.).

The plots of the Khorin uligers are varied and thematically fall into groups: the first is about the heroic matchmaking and marriage of the heroes ("Bolod Khurai", "Maiden Doloolin Luugaa", "Borontuu Mergen on a gray-motley horse", "Nugelte Nyusegen Gurguli", "Heeder Mergen" ); the second is about the marriage and struggle of the heroes with the Mangadhai and foreign invader khans ("Unchen Zhagar Bogdo Khan", "Khan Khashagta Mergen", "Unkhelseg Bator", "Bogdo Khubshe Mergen"); the third is about intra-family and clan relationships and conflicts (“Manyelte Mergen”, “Lodoy Mergen”, “Ereldei Ezen Bogdo Khan”, “Bator Shono Galdan”, “Sagadai Mergen and sister Nogodoy Sesen”, “15-year-old Abaday Mergen”, "12-year-old Altan Ganzhudai").

The main motifs of the Khorin epic, related to its ancient layers (the fight against the Mangadhai, heroic matchmaking, magic, werewolves, the death and resurrection of heroes, the destruction of the soul of the enemy, etc.), are common with the Western Buryat Uligers, which indicates their formation on the basis of a single epic tradition.

Similarities with the Ekhirit-Bulagat and Unginsky Uligers are also revealed by plots on the theme of intra-family, clan relationships and conflicts (betrayal of a wife, antagonism between uncle and nephew, older and younger brothers; mutual affection of brother and younger sister; exploits of a heroic maiden and her killing by evil daughters-in-law; murder of son by parents).

But at the same time, the Khorin uligers have their own characteristic typological features, manifested in a different interpretation of archaic motifs, plots and images in accordance with the ideology and life of the nomadic pastoralists of the era of the decomposition of clan society and the emergence of elements of a new system.

The epic hero of the Khorin people is usually depicted as a rich cattle breeder, the owner of vast herds and countless herds. Often, uligers describe five types of domestic animals traditionally bred by Buryats (taban khushuu small): cows, horses, camels, sheep and goats. The ancient motif of hunting fades into the background and is interpreted not as a means of food, but as fun, the entertainment of the hero. As Ts. Zhamtsarano writes, the hunt for animals among the Khori-Buryats “is organized to survey foreign countries, establish relationships with other heroes,” and serves as a way to “conclude alliances or start a war.” (Zhamtsarano. 1918. P. XXX).

In the Khorin epic, inter-tribal and inter-tribal struggles waged by khans (leaders of clans and tribes) are artistically reflected: “Khan Khashagta Mergen”, “Namuunay Khan”. The opponents and enemies of the hero, along with the Mangadhai, are mainly foreign khans, who are characterized as “evil people” (ok sedhelten). They attack the hero’s possessions, steal livestock and herds, seize lands (pastures), and turn subjects and household members into forced shepherds and slaves (barlag).

The epic hero makes campaigns for the sake of protection, liberation of his possessions from enemy raids, extraction of his betrothed, return of stolen property (property, wife, parents) or the conquest of other clans and tribes (countries), search for better lands and pastures. He is driven by the desire to gain fame, to exalt his name. In some uligers the hero titles himself a great, rich khan (yehe bayan haan).

The motive for the struggle of blood relatives (uncle and nephew, older brothers with younger ones) is the desire for power (taking possession of the father's “throne”).

In the epic of the Khorin people, the social stratification of society into tribal nobility and simple relatives (shepherds, servants), who, in the words of Ts. Zhamtsarano, are “obedient tributaries of their lord,” is more clearly visible.

Compared to the Ekhirit-Bulagat epics, the Khorin epic is less archaic. There are few characters of zoomorphic mythology in it, there is no motive of twinning with animals, and the traditional images of Mangadhai monsters are de-actualized, lose their fantastic features and are depicted either as “comical, stupid simpletons, whom the hero deals with without much difficulty,” or are endowed with completely realistic features of the invader khans : they have weapons, an army and carry out predatory raids, ruining the property of the heroes.

In uligers with a matrimonial theme, fairy-tale motifs and plots play an important role: marriage, often of a low-status hero, thanks to the help of a magical donor, to werewolf maidens appearing in the guise of birds, beasts, animals (swan, fox, roe deer, quail, lark) . Particularly popular is the image of the heavenly swan maiden - the betrothed of the hero, which goes back to the totem cult of this bird, with which the Hori-Buryats associate their origin.

Later layers include motives of social inequality, as well as images and terms related to the Buddhist religion: lama(Buddhist monk) Dayansha(contemplative lama), shudhar(damn, devil) orkhimzho(an attribute of a monastic robe is a wide strip of red cloth thrown over the shoulder), hadag(a long, silk cloth presented as a welcome gift to honored guests), abaral 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 the Khorinsky (as well as Unginsky) epic traditions in the form of new genre formations - tales about animals. Thus, the main character of the Khorin uliger “Suutyn sagaan hulagshan” (The famous white mare) and the Unginsky “Suutyn doloon hulagshan” (Seven famous Savras mares) is a horse, at the cost of its life saving its foal from the cruel khan’s hero, who exterminated their entire herd. The legends sound a hymn to the life-affirming power of maternal love. And in the widespread uliger among the Khori-Buryats “Unsheng sagan botogon” (White orphan camel), the story is told about the bitter wanderings and melancholy of a cub separated, at the will of a rich man, from his mother.

Unlike the archaic tradition, the bearers of evil in these works are no longer monsters, but people - representatives of the social elite of society.

Cattle-breeding motifs are more widely reflected in the Khorin uliger tradition than in previous ones, but the image of the heroic horse is traditional and beloved in all the heroic-epic tales of the Buryats. This is a faithful friend, a universal wonderful helper and a wise adviser, possessing a perspicacious mind and human speech. His depiction combines both realistic and fairy-tale-fantastic elements. In the Unga epic, the horse, at the cost of its life, saves heroes from death, obtains a resurrection betrothed for its deceased owner, has the magical ability of reincarnation, and in some cases revives its friend. The hero of the Unga Uligers receives heroic status only after taming and riding a heavenly horse sent by divine patrons.

The image of a wonderful horse, based on ancient totemic beliefs and cult, appears in the heroic epic of the Buryats as the sacred patron of the clan and expresses the strength and power of the uliger hero.

In general, the Khorin Uligers show the further evolution of the epic creativity of the Buryats at a new stage in the development of society and people’s consciousness; the process of overcoming the mythological worldview. According to the observations of scientists, the Khorin storytellers, in contrast to the Ekhirit-Bulagat and Unginsky ones, treated the Uligers as “art, fantasy, beautiful invention” (Ulanov. 1974. P. 74).

The adoption of Buddhism by the Khori-Buryats, the spread of Old Mongolian writing, religious literature of Tibet and China, the canons and dogmas of the Buddhist Church, served, according to scientists, as the impetus for the gradual extinction of epic creativity, “the development of uligers into fairy tales.” (Ulanov. 1957. P. 167), although the people continued to maintain their love for the epic and the tradition of its transmission.

A special place in the heroic-epic creativity of the Buryats belongs to the tales of the mighty hero Abai Geser - a heavenly son sent to earth to protect ordinary people from suffering and death. The epic about this hero, which has existed among the people since time immemorial, is widely known in all corners of ethnic Buryatia, enjoys universal love and is considered the pearl of Buryat uliger creativity. Compared to other uligers, the legends about Geser are distinguished by their large volume (from 7 to 20 or more thousand verses), monumental plot composition and perfection of artistic form.

In addition to Buryatia, the Geseriad is known in Mongolia, Kalmykia, among the Turkic-speaking peoples of Southern Siberia, in Tibet (Kham, Amdo, Ladakh), 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 examples of this unique monument are considered the most archaic and represent an extensive epic corpus, formed on the basis of biographical and genealogical cyclization, telling about the life and exploits of the hero and his sons, who were entrusted with the special mission of fighting against evil on earth and establishing a peaceful and happy life for people.

Unlike the Tibetan and Mongolian versions, which had a written tradition, the Buryat Geseriad was transmitted orally for many centuries, which led to the emergence of various local traditions of its performance and an abundance of different variants. The book form of the Geseriad, close to the Mongolian one, existed mainly in Transbaikalia among the Khori-Buryats, where the Old Mongolian writing and Buddhism were widespread and the influence of the feudal culture of Mongolia was strong.

The first steps to record the Buryat Geseriad were taken by G.N. Potanin, who in 1883 published a rather sketchy retelling of the initial episodes of the uliger, entitled “Gesir Khan,” recorded by him from the Alar Buryat Manzanov, who spoke Russian. Then, in 1893, in the book “Tangut-Tibetan Outskirts of China and Central Mongolia”, along with Tibetan versions, he included a very detailed retelling of the Buryat ethnographer M.N. Khangalov, a summary text of the poetic epic "Abai Geser Bogdo Khan" that existed in the Angara region.

M.N. Khangalov, who recorded this epic tale from his father N. Khangalov and the talented Uligershin P. Tushemilov, provided the text with an extensive introductory article containing valuable information about the existence of “Abai Geser” among the Unga Buryats, about the legends associated with his name.

At the beginning of the 20th century. work on collecting heroic-epic tales was continued by Ts. Zhamtsarano. In 1903-1906, on instructions from the Russian Academy of Sciences, he made the first scientific records of the Uligers who lived in the valley of the river. Kuda, Verkholenye, on Olkhon (now Ekhirit-Bulagatsky district of the Ust-Orda Buryat Autonomous Okrug). His collection, consisting of ten full-fledged, highly artistic examples of the archaic epic of the Ekhirits and Bulagats, revealed to scientists the amazing wealth of the epic creativity of the Buryats. Of particular value in this collection was the epic "Abai Geser-khubun" (10,590 verses), recorded from M. Imegenov and, together with the uligers about the sons of the hero ("Oshor Bogdo-khubun" and "Khurin Altai-khubun"), a cyclized epic, volume 22074 verses, which has no analogues in other national versions of the monument. These notes were published in the first two issues of the second volume of "Samples of Folk Literature of the Mongolian Tribes." The records and publications of Ts. Zhamtsarano are valuable in that they formed the classical textual basis of Buryat epic studies and actively function in science.

In 1909, the English scientist Curtin published three versions of “Geser”, which he recorded in 1900 in the same region. One of these options was an abbreviated presentation of “Abai Geser-khubun”, recorded by an Englishman, apparently from M. Imegenov, but has a number of plot differences compared to the full recording made by Ts. Zhamtsarano in 1906. The texts in Kurtin’s publication were the result double translation: from Buryat into Russian, made by V. Mikhailov, then from Russian into English and essentially represented prosaic retellings of the plot outline of the Uliger.

In Soviet times, from the beginning of the 20s, folklorist S.P. was engaged in the systematic collection of folklore material (especially uligers). Baldaev (1889-1978), who examined almost all the uluses of ethnic Buryatia. A significant number of heroic-epic works, including the epic about Geser, were also recorded by scientists and collectors: A.K. Bogdanov, K.A. Hadakhane, K.V. Baginov, A.I. Shadayev, G.D. Sanzheev, I.N. Madason, D.D. Khiltukhin, R.F. Tugutov, D.A. Alekseev, M.P. Khomonov, N.O. Sharakshinova, A. Balburov, T.M. Boldonova, who worked with talented uligershins of the 20-40s and 50s, who still preserved the living tradition of storytelling art. To a large extent, thanks to their efforts, the main repertoire of traditional uligers that existed among the people was identified and recorded, giving an idea of ​​​​the general fund of the epic heritage of the Buryats.

Currently, the KhVRK IMBIT SB RAS houses more than a hundred original uligers, among which the heroic-epic tales about Geser are most fully represented. They were recorded in different years in the Alarsky, Nukutsky, Bokhansky, Osinsky, Ekhirit-Bulagatsky districts of the Irkutsk region, as well as in Tunka (Buryatia) and Are (Chita region) from talented folk storytellers-gesershins: P. Petrov (1866-1943) , P. Tushemilov (1877-1954), P. Dmitrieva (1883-1958), B. Zhatukhaeva (1891-1983), Alfora Vasilyeva (1887-1945), A. Toroeva (1893-1982), O. Khaintaeva, M . Gerguseeva, O. Gelinkenova, N. Ivanova, R.N. Bulatov, D. Zabanova, D. Khaludorova" Zh. Samaev and others, each of whom had their own unique creative individuality, their own performing style and the gift of the poetic word. Being for the most part great experts in folklore, universal storytellers, they were able to convey to our days, the diversity and richness of the local epic traditions of the Buryat Geseriad.

Bilingual (in the original language with Russian translation) scientific editions of the Geseriad texts recorded by Ts. Zhamtsarano and I. Madason were carried out in the early 60s by A.I. Ulanov and M.P. Khomonov. In 1969 N.O. Sharakshinova published her translation into Russian of the text "Abai Geser-khubun" (Sharakshinova. 1969. pp. 145-314). In 1995, in the series “Epic of the Peoples of Eurasia”, a new bilingual edition of the Ekhirit-Bulagat version was published in a scientific translation by A.B. Soktoeva (Abai Geser Mighty... 1995). In addition, different versions of "Geser" were published in the Buryat language (Tushemilov."Geser". 19 A\; Dmitriev."Geser". 1953; "Abai Geser Bogdo Khan". 1995). Researchers divide the entire variety of variants of the Buryat Geseriad into two groups according to their stage-typological characteristics: Unginsky, close in plot to the Mongolian book Geseriad, and much more archaic, Ekhirit-Bulagat (Ulanov. 1957. pp. 104-105, 128, 138; Sharakshinova. 1969. P. 40; Abay Geser. 1960. P. 4).

The basis of the plot of these heroic-epic works is the story of Geser being sent to earth by heavenly deities, his second birth on earth, marriage and exploits in the name of happiness and peaceful life of people.

The most famous scientific version of the Ekhirit-Bulagat version of the Geseriad is the epic "Abai Geser-khubun", recorded in 1906 by Ts. Zhamtsarano from the outstanding storyteller from the Kukunut ulus of the former Kudinsk department of the Irkutsk province, a poor peasant from the Ashabagat clan Manshuda Imegenov (1849- 1908), who managed to reproduce this monumental epic trilogy about the hero and his sons in the performing traditions of the ekhirit-bulagat, preserving both the originality of the plot and the picturesque richness of the artistic language and images, not in the usual setting among odnoulusnik listeners, but for a visiting scientist who was recording every word he says.

This version, according to A.I. Ulanov, is “completely independent, original, having no resemblance either to the Mongolian Geseriad or to the Tibetan or Kalmyk legends about Geser, except for the name of the main character.” The archaic nature of “Abai Geser-khubun”, which has well preserved its mythological basis, is evidenced by both its very content, the interpretation of the images of the main characters, and the main idea of ​​the work: “the fight against monsters personifying the evil forces of nature and overcoming obstacles.” (Ulanov. 1957. P. 116).

Events in the epic, as in other versions of the Buryat Geseriad, begin in the sky, in which, according to ancient Buryat beliefs, tengri celestials live: those born on the western (right) side - 55 good, bright deities led by Khankhan Hermos and those born on the eastern (left) side - 44 dark, evil ones, led by Ataa Ulan, and in the middle between them - Segen Sebdeg Tengri. The elder, supreme deities to whom all celestials obey are: father Esege Malan-babai, grandmother Malzan Gurmen-tɵɵdei - the oldest goddess, the mother of all Tengri. The good deities who vigilantly look after Geser and help him in difficult times are “a thousand bright heavenly burkhans” (ogtorgoin mingan sagaan burkhan), as well as the Creator Bright Elder Zarlig (Zarlig sagaan ubegan).

The plot of further events in the epic is the dispute between Khankhan Hermos and Ataa Ulan. Each of them wants to master the middle Segen Sabdeg Tengri, which lives apart and personifies the border, the boundary between two opposition camps (light and darkness). This is evidenced by the etymology of his name - “Solid (unshakable; persistent) celestial inhabitant of the border, boundary.”

The celestials agree to fight: whoever wins will take possession of Segen Sabdag. But Hanhan Hermos forgets about the date of the battle. And then the three-year-old son of Khankhan Hermosa, the late-born Abai Geser-khubun, throws Ataa Ulan to the ground with a blow from his father’s spear. Zambi(the concept of Zambi- the earth, as a habitat for people, is associated with the cosmogonic ideas of the ancient Buryats, according to which the Universe consisted of the upper (heavenly), lower (earthly) and underground worlds).

The body of the defeated Ataa Ulan spreads stench and stench; turns into Mangadhai monsters who swallow and devour earthly people and all living things on earth. To save them, cleanse the earth of monsters, restore peace, prosperity and order, the bright heavenly deities send Geser to the earth. From this moment on, the hero’s entire life is devoted to this noble mission, which is the main idea of ​​the Buryat Gesariad.

Geser descends to earth in the guise of a black raven. His bodily hypostasis remains in heaven. Heavenly patrons first temper him, strengthen his soul, making it invulnerable, endow the hero with miraculous abilities, and give him three savior sisters as companions, since severe trials and a difficult struggle await him on earth.

On earth, the hero is reborn from a 60-year-old old woman living in poverty and a 70-year-old man who makes his living by catching small animals.

The main plot elements of M. Imegenov’s version are: 1) Heavenly prologue (the opposition of Western and Eastern celestials); Geser's overthrow of Ataa Ulan-Tengria; 2) Descent to earth and rebirth; 3) Geser’s childhood exploits: the destruction of werewolf demons in the guise of big guys; neutralizing iron-billed crows with iron claws, giant mosquitoes with bone trunks, who were going to peck out the baby hero’s eyes and suck the blood; 4) The matchmaking and marriage of the hero to the khan’s daughter, the maiden San-khan Gohon; 5) The betrayal of the hero Agsagalday, who succumbed to the intrigues of the 108-headed Biting Yellow Mangadhai. Geser's victory over Mangadhai and the execution of the traitor; 6) The struggle and victory of Geser (with the help of his heavenly brother Dashin Shokhor) over the powerful, never-sleeping sorcerer Galkhan Nurman Khan (lit.: “Khan of the Fiery Lava”). Destruction of the enemy's unborn son - an iron-bodied baby; 7) Birth of son Oshor Bogdo; 8) Geser's fight and victory over the 13-headed Asurai Yellow Mangadhai; 9) Geser’s journey to heaven and marriage to Tengri’s daughter, the maiden Gagurai Nogon; 10) Returning with his wife to earth; 11) Betrayal of Gagurai Nogon and her departure to Mangadhai. Transformation of Geser into a horse; 12) Rescue of Geser by his first wife Sanhan Gohon; 13) Geser’s fight with the many-headed and many-horned monsters-Mangadhai and the Long Red-haired woman-Mangadhai; 14) Fight with mad wolves, with multi-headed Danyal and Asurai mangadhai; 15) Destruction of the mighty old Mangadhai witch; 16) Imprisonment in a deep dungeon-underworld (khurkhen tama) Danyal and Asurai mangadhai; 17) Execution of the traitor Gagurai Nogon and Mangadhai Obsogoldoy; 18) Return to homeland.

At the end of the story, Geser says that he destroyed all the enemies on earth. And after the marriage of the eldest son, Oshor Bogdo, ascends to heaven, where the Tengri deities again turn him into a three-year-old baby.

M. Imegenov’s version captures the early period of development of Buryat society; it quite clearly reflects the surviving elements of matriarchal and patriarchal ideologies. Malzan Gourmet Grandmother has the highest power and unquestioned authority; the souls of the Mangadhai monsters are kept by old women (grandmothers and aunts) on the maternal side; The oldest woman in the family takes care of the newborn child.

The uliger depicts the hunting way of life: Geser is engaged in hunting; His earthly parents are engaged in catching animals and collecting herbs.

Geser's main enemies are numerous monsters - Mangadhai, evil old women - Mangadhai, Gal Nurma Khan, who has the vestigial features of a monster-devourer; giant iron-billed crows, mosquitoes, rabid wolves and other creatures hostile to humans. The hero's struggle with monsters occurs as a random encounter on the road or while hunting. Geser, having defeated the Mangadhai in single combat, executes them by trapping them in tree trunks. There are no social motives of struggle in the epic.

The weapons of the Mangadhai are clubs or axes. They ride on shabby nags with a dry saddle. Mangadhaykas use their leather scrapers to fight Geser.

The hero does not distinguish himself from the clan group, he is merged with the clan, which is emphasized by adding the word to his name khubuun(son of a clan, tribe, guy), having an additional evaluative meaning: “mighty”, “glorious”, which is generally characteristic of archaic epic.

Geser fights enemies not for the sake of personal interest, but for the sake of the happiness of the members of the tribal collective. The genus is contrasted with the surrounding world, which is presented in the form of evil and good creatures. Evil creatures are subject to destruction and the hero directs all his energy against evil monsters.

The ancient form of performing epic works (when listeners took an active part in it) includes such compositional elements in “Abai Geser-khubun” as ugtalga(lit.: meeting) - a calling song that expressed the desire to listen to the uliger; udeshelge(lit.: farewell) - a farewell song addressed to the heroes of the epic and listeners and seg daralga(lit.: skrepy; ligaments), performed by listeners before the start of the story about the next campaign of the hero or at the end of the next episode, when the narrator took a break. There are thirteen such linking songs in M. Imegenov’s version. They contain glorification of the hero, his horse, wishes of good luck on the campaign, etc.

The narration in "Abai Geser-khubun" is not limited only to the heroic exploits of the hero. It also reflects pictures of peaceful life, everyday scenes that recreate the way of life, customs dating back to a later time.

Traditional for the archaic epic in this monument are the motives for the difficult assignments of the future father-in-law, the father of the bride: sending the giant bird Khan Kherdeg for the feather and the associated plot of the hero saving the bird’s daughters from a poisonous yellow snake; motives for searching and destroying the soul of the enemy; motives for turning to things in the book of fate-zayan, etc.

M. Imegenov’s plot development of the motive of the path (Geser’s ascent to heaven), where his betrothed Gagurai Nogon lives, meeting with his creator - the Bright Elder Zarlig, is distinguished by deep originality and uniqueness; testing Geser's strength and hardening him in the crucible by heavenly blacksmiths.

A different stage of development is represented by the Unga versions of the Geseriad, the characteristic features of which are reflected in the epic “Abai Geser” (12537 verses), recorded by I.N. Madason in 1940-1941. from a talented storyteller from the Khadakhan ulus, Alar district, Irkutsk region, Pyokhon Petrov.

The descent of Geser to earth is also preceded by a dispute and battle between two opposition camps of celestials (Western and Eastern) for the mastery of the middle Segen Sebdeg Tengri. But unlike Imegen’s version, in P. Petrov’s “Heavenly Prologue” there appears a plot about the illness of Naran Gohon abhay (Solar Beauty) - the daughter of Naran Dulan Tengri (Tengri of the Solar Heat), sent by the head of the eastern (left-sided) celestials, Atai Ulan Tengri. In the event of her death, the 55 good western celestial beings must become subordinate to the 44 eastern, evil ones.

A large role, as in the archaic version, is played by the ancestor of Western deities Manzan Gourmet grandmother. Thanks to her advice, the son of the head of the Western celestials, Buhe Beligte Khubun (the future Geser), obtains a wonderful white lark that heals the maiden.

In general, Petrov’s description of heavenly life differs from Imegenov’s laconic one in its detailedness and plot completeness; an abundance of images of Tengri deities, their hierarchy and functions. This feature is characteristic of the entire uliger style. If in the Ekhirit-Bulagat version little Geser defeats the evil Ataa Ulan, then in the Ungin version the battle of all the celestial beings is described in turn: the sons of Khan Khirmos and Atai Ulan; then the Tengris, personifying atmospheric and weather phenomena (summer, winter fogs, frost, wind, etc.). Then the elders themselves and their horses fight. Khan Hirmos defeats Atai Ulan with the help of his son Buhe Beligte, who pierces the big toe of the enemy's right foot with a spear, where his soul was kept.

“Abai Geser” describes in detail the appearance of monsters on earth: the evil Sharablin khans; the powerful, many-eyed monster Gal Dulme Khan (Khan of Fire and Heat), the Master of the forests - the devourer of the Orgoli-White Deer; the devil Sharem Minata (the devil with a Cast Iron Whip), who lives on the other side of the land of Death; Abarga Sesen Mangadhai, who lives in the desert land of Honin Khoto; Black Mangadhai Lobsogoldoy and his three sisters Yonkhoboy, who arose from the severed body parts of Atai Ulan and his three sons.

The first part of the Unga Geseriad (Heavenly Prologue) is essentially a series of myths, clothed in the form of an epic tale, where the forces of Good and Evil, Light and Darkness received a kind of personification. Their eternal struggle is expressed in the war of the celestials, the division of which into two opposing camps is based on the ancient universal binary opposition (Burcina. 1997. pp. 113-116).

In the Unga Geseriad there is a generalization and systematization of myths designed to explain the appearance of evil and monsters within the framework of the mythological worldview.

Monsters begin to destroy all life on earth. Drought and pestilence begin. People are dying, livestock are dying. The celestials learn about this from a shaman who made an offering to the head of the Western (right-sided) good celestials, Khan Hirmos, consisting of the tears and sputum of sick people.

The heavenly council sends to get rid of evil and revive life on earth the middle son of Khan Hirmos - Buhe Beligte, who is born there for the second time to a childless couple of exiles: Khan Sengelen and Naran Gokhon - the daughter of Naran Dulan Tengri.

Geser's struggle with monsters - creatures of Atai Ulan Tengri - forms the content of Peter the Great's version. The hero's mission on earth is expressed in the uliger's chant: "He punished the invaders, He tamed the arrogant, He pacified the fanged, He exterminated the predators - the Great Abai Geser, the Mighty Abai Geser. His height is eighty cubits, his life is eight generations."

This version consists of the following main chapters: 1) Heavenly prologue. The struggle between Western and Eastern celestials. The overthrow of Atai Ulan and his sons to the ground. The appearance of monsters there; 2) Pestilence, drought on earth, death of all living things; 3) Sending Buhe Beligte, the middle son of the head of the Western celestials, to earth to save people; 4) The miraculous conception and rebirth of the hero. Childhood exploits of the brat hero; 5) Matchmaking and marriage to Tumen Yargalan. Second marriage to Urmay Gohon; 6) The hero acquires his true heroic appearance and becomes Abai Geser Bogdo Khan. Marriage to the hero Alma Mergen, daughter of the lord of the seas Lobson; 7) Geser’s campaign against the Master of the forests, Orgoli-White Deer (swallowed). Defeating the monster; 8) Victory over the huge snake Abarga; 9) The betrayal of Uncle Geser, the black-hearted Khara Soton-noyon, who sent him illness; 10) Tumen Yargalan, for the sake of saving Geser, goes to Abarga Sesen mangadhai; 11) Geser’s campaign and victory over Abarga Sesen mangadhai; 12) The wife gives the hero intoxicating food and Geser forgets about home; 13) Sharablin khans capture Urmai Gokhon; 14) Three heavenly savior sisters (cuckoos) return Geser’s memory; 15) Geser’s campaign against the Sharablin khans. Transformation into a foundling baby and adoption by the khans. Victory and liberation of Urmai Gohon; 16) Campaign and victory over Gal Dulme Khan; 17) Lobsogy Black Mangadhai, turning into a lama, turns Geser into a donkey; 18) Alma Mergen Khatan frees Geser; 19) Geser’s victory over Lobsog, his imprisonment in a dungeon pit; 20) Geser’s battle with the devil Sharem Minata and victory with the help of a wonderful wooly twig; 21) Geser frees the subjects of the Chinese Gumen Sesen Khan from death.

P. Petrov’s version also has additional episodes: “Sagan-baatar” (White Hero), “Four Last Children of the World”, “Lonely Tree”, which are absent in other versions of the Geseriad.

P. Petrov’s chapters and episodes are similar to the Mongolian Geseriad in those chapters and episodes that tell about the birth of Geser, his childhood exploits, Sargal’s noyon testing his sons, the war with the Sharablinians, and the Chinese Gumen Sesen Khan.

But the poetic Geseriad of the Buryats, in comparison with the prosaic Mongolian one, is deeply original, since it reveals the ethical and aesthetic views of the people through the figurative system of Buryat epic creativity. Many motifs and episodes from other Uligers were included in the plot of the Ungin Geseriad. They have much more details, details, episodes and plots than the Mongols, since the epic tradition of the Buryats is characterized by the expansion of the plot fabric of the narrative. Descriptions of struggles, duels with monsters, competitions of grooms, epic formulas, chants, seg daralga, udeshelge in "Abai Geser" are characteristic of the entire heroic epic of the Buryats.

The image of Geser embodies the traditional features of the heroes of Buryat epic tales. He embodies the people's ideal of a hero, a fighter for the happiness of people, which is why he is one of the most beloved heroes of the Buryat epic. Unlike the archaic tradition, in the Ungin Geseriad the hero fights in most cases with hostile khans; he has not only warriors-bator, but also an army that takes part in the battles. Many pastoral motifs appear (shepherds, herds of animals, milking cows).

The character of the epic "Abai Geser" is determined by the idea of ​​struggle

Heroic epic "Geser"is a unique monument of the spiritual culture of the Buryat people. This epic is considered not only by the Buryats, but also by many other peoples of Central Asia. The epic is widespread among the Tibetans, Mongols, Tuvinians, Altaians, Kalmyks, and North Tibetan Uyghurs. Geser has become 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 and largest in its significance is the legend of Geser. "Geseriad" is an epic cycle of oral and written tales about Geser Khan, widely spread in Central and East Asia. It finally took shape in the 16th–17th centuries. Tibetan and Mongolian prose and Buryat poetic versions of the Geseriad are known.

"Geser", impressive with its unbridled imagination and grandeur of 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 Buryat legend, the legend of Geser was performed in ancient times for nine days and nine nights.

The main storyline of "Geser" is as follows.

An evil monster wants to destroy all life on earth and is carrying out his sinister plan. To save the human race from complete destruction, Geser is sent to fight the monster.

Geser is a celestial being, and when he descends from heaven to earth to perform a feat of good, he is reincarnated as a human. He is born again on earth in a poor shepherd’s hut, for only a “human child” born into a poor family can, according to the thoughts of the composers of the epic, understand the grief and aspirations of the people, “women’s tears, men’s tears, sorrows, sorrows, human torment.”

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 exploits, about delivering people from misfortunes and disasters. On heroic journeys, Geser explores the whole world (victories over the demonic rulers of the North, East, South and West, liberation of his mother from hell). He is called "the eradicator of ten evils in ten countries of the world."

When Geser completes his exploits, it is time for him to return to heaven. But Geser, while he lived on earth and freed it and people from all evil spirits, while he saved people from misfortunes and disasters, managed to love this land and people and remained a man on earth. Honor, courage, and selfless service to good earned him the love and respect of his fellow countrymen, who have been passing on the legend of the hero from generation to generation for a thousand years.

The creators of the epic create gods in their own image and likeness. 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. Celestials act like people, they also have human weaknesses, and this combination of the ordinary and the sublime constitutes the special poetic charm of the Geseriada.