Epic "Manas" Myths and legends of Kyrgyzstan. Oral folk art. Epic "Manas"

Introduction

Kyrgyz heroic epic“Manas” - in terms of its ideological content and artistic qualities, occupies a special place among all genres oral people creativity of the people. There has always been interest in the epic “Manas”, and scientific interest appeared only at the beginning of the 20th century, but we should not forget that representatives of Russian science who visited the territory Central Asia already in the second half of the 19th century they had a certain idea about the epic “Manas”. Since the 30s of the 20th century, the epic “Manas” has become the main material for various theories and areas of science about folk art. The desire of researchers to understand and explain the epic “Manas”, its genesis in the life of the Kyrgyz and world history gave rise to disputes, which sometimes reached the socio-political level in terms of meaning and narrow academic interests.

Kyrgyz people have about forty folk epics. Of these, the most monumental is the heroic epic “Manas”. And it is in relation to “Manas” that all other Kyrgyz epics are conventionally called “small” in Kyrgyz science, although none of them are inferior in content and form to other epics of the peoples of the world.

The creators of the epic “Manas” are Manaschi storytellers who had phenomenal memory (although memory is not the main feature) and a divine gift. They are the keepers of the epic, passing on the text of the epic from generation to generation, from mouth to mouth. Thanks to the storytellers, the epic “Manas” developed and improved.

There are two versions of the origin of the epic. The folk version, where Jaisan is the first manaschi storyteller, and the scientific one, where three hypotheses about the era of the emergence of the epic are intertwined. Let's start with folk version: according to some information (about the materials of Mariyam Mussa kyzy) and existing folk legends, Jaisan the son of Umet (a member of the military squad, an ascetic of Manas), is the first storyteller and creator of the heroic legend about Manas: “Jaisan from the Usun tribe was born in 682, he was 12 years younger than Manas the Magnanimous himself. Jaisan's mother is Karachakh's daughter Janylcha, his father Umet was also a member of the military squad of Manas. During the great campaign, he was seriously wounded and lay unconscious for a long time; waking up from a strange sound, he begins to sing about the heroic deeds of Manas. And from that moment on he began to glorify the deeds of Manas. At the age of 54, at the dawn of his creativity, Jaisan was killed (out of envy) by the hands of his own student Yrchy, the son of Yraman, who also served Manas.” According to Maria Musa kyzy: “after the death of Jaisan, his work was continued by Yrchy. But from time to time in the history of the Kyrgyz people new Jaisans appeared, who were its embodiment and there were exactly nine of them.” And it was they and those storytellers whose names were imprinted in the people's memory who were the bearers and keepers of the great legend about Manas.

Science today knows mainly three hypotheses about the era of the epic:

1) According to M.O. Auezov and A.N. Bernshtam, the key events of Manas are associated with the period in the history of the Kyrgyz when they maintained relations with the Uyghurs.

2) B.M. Yunusaliev based on an analysis of the content of the epic, relying on individual historical facts, as well as ethnographic, linguistic and geographical information, comes to the conclusion that the basis of the epic is connected with the events of the 9th - 11th centuries, when the Kyrgyz fought against the Khitans - punishment of the Chinas.

3) V.M. Zhirmunsky believes that although the content of the epic contains a lot of materials reflecting the ancient ideas of the people, the historical layer of the epic reflects the events of the 15th - 18th centuries (according to S. Musaev).

“The current level of Manas research does not allow us to fully agree with one of the listed hypotheses, rejecting others as untenable. A deep analysis of the content of the epic leads to one indisputable conclusion: the events that make up the content of “Manas” represent many layers, indicating that the work was formed over a long period of time.”

The second period of historical and ethographic consideration of the epic “Manas” covers the period from 1922 to 1991.

The scientific study of the epic “Manas” in the Soviet era began with the works of Professor P.A. Faleva (1888-1922) - “How the Kara-Kyrgyz epic is built”, “About the Kara-Kyrgyz epic”, which were published in the first issue of the journal “Science and Education”, published in Tashkent in 1922. The author based on the recorded and published V.V. Radlov analyzes materials artistic features of this epic.

B. Soltonoev (1878-1938) is rightfully considered a Kyrgyz historian. writer and poet. He could also be called the first Kyrgyz ethnographer. His poetic and literary heritage, his creative activity generally. B. Soltonoev should be considered the first Kyrgyz scientist who, due to his preparedness, examined the epic “Manas” and some other works, as well as the work of individual manaschi. The main part of his work is devoted to the epic “Manas”. It’s called “Manas”. This study begins with how the Kyrgyz have long been singing and not forgetting such epic poems as “Manas” and “Koshoy”, “Er Toshtuk”. Researchers distinguish these poems as individual works, while their heroes full versions are characters of the same epic.

A special place among researchers of the Manas epic belongs to the outstanding Kazakh writer, folklore expert, and prominent Soviet scientist M.O. Auezov, who was actively involved in the epic from the late 20s until the end of his life. He was also in love with the epic “Manas”. His famous work, “The Kyrgyz folk heroic poem “Manas”, which was the result of many years of meticulous research, is one of the basic research about Manas."

V.V. Bartold (1869-1930) - one of the first researchers closely involved in developing the history of the Kyrgyz people, both in pre-Soviet and Soviet era. He was familiar with various genres of Kyrgyz oral folk art. In his works, “Manas” is used as a source on various issues of the history and culture of the Kyrgyz people. V.V. Bartold is critical of the fact that in the epic “Manas” the struggle of the Kyrgyz people is depicted as a religious war, although he believed that the Kyrgyz in the 19th century, as in the 16th century, were almost completely unfamiliar with the tenets and rituals of Islam .

The merit of S.M. Abramzon (1905-1977) is well known in the study of the ethnography of the Kyrgyz people. It is perhaps difficult to name those aspects of the history and culture of the Kyrgyz that he did not touch upon. But most of all the scientist pays attention to the epic “Manas”. In his article “The Kyrgyz heroic epic “Manas””, he expresses fair dissatisfaction with the fact that “Manas” continues to remain extremely poorly studied material in ethnographic terms.

A.N. Bernshtam (1910-1959) - a prominent Soviet archaeologist, historian, ethnographer. He was one of the first among scientists to turn to the origins of Kyrgyz culture and began to draw on epic materials. In all of A.N. Bernshtam’s works on the epic “Manas”, and there are more than ten of them, the epic is considered, first of all, as a historical source.

He made the following specific conclusions:

1. This historical story about the struggle for independence of the Kyrgyz tribes, oldest stage, which dates back to 820-847;

2. The epic Manas is based on a specific historical image of the leader of the Kyrgyz people - 820-847, whose struggle was of a liberation nature.

Academician B. Dzhamgirchinov (1911-1982) is one of the first Kyrgyz professional scientists who began to use the data of Kyrgyz oral folk art in scientific developments in Soviet times.

Among Kyrgyz scientists, a special place in the study of the Manas epic belongs to professors: in the field of history B.M. Yunusaliev, in the field of folklore to R. Kadyrbaeva, E. Abdylbaev, R. Sarypbekov, S. Begaliev, Zh. Orozobekova, in the field of ethnography to I. Moldobaev, in the field of art criticism to B. Alagushev, K. Dyushaliev, A. Kaibyldaev, in the field of literary criticism K. Asanaliev and others.

B.M. Yunusaliev (1913-1970) is the author of several serious works devoted to various problems of Manas; he was one of the active initiators of the publication of the epic. How editor-in-chief Kyrgyz text prepared for publication in the series “Epics of the Peoples of the USSR”, B. Yunusaliev, until the last days of his life, contributed to the resolution of many issues related to the preparation of texts for publication. Such complex and responsible work as textual criticism was carried out mainly with his direct participation and under his leadership.

The famous philologist, expert on the epic creativity of the peoples of the world V.M. subjected a complex analysis to the epic “Manas”. Zhirmunsky (1891-1971). He also touched upon the question of the time of composition of the Kyrgyz epic. The scientist attributes the composition and development of the epic "Manas" to a fairly wide range of time - VI-XIX centuries, dividing this time into three periods.

The work of the storytellers of “Manas” is compared with the ancient Greek aeds in the works of the English scientist J. Thomson. The facts of the Kyrgyz epic are widely used by foreign authors on general theoretical problems of literary criticism. In 1966, at the Kyrgyzfilm film studio, on the initiative of the prominent Kyrgyz film director M. Ubukeev (1935-1996), an experimental film (“Sayakbay”) was shot based on the second part of the epic “Manas”, already on audio tape. The recording was organized by the Academy of Sciences of the Kirghiz SSR.

Conclusion

IN Soviet era About sixty versions of the epic “Manas” were recorded from different storytellers. I would like to note the efforts of those researchers who did this, because never before in the history of Manas studies has so much work been done on recording versions of the epic as was done during this period, and perhaps in the future there will not be similar case, even if there are those who want to repeat the past, it is unlikely that there will be such storytellers from whom new versions could be written down. Of course, even in those times there were problems and shortcomings. But still, a huge amount of work has been done, which will certainly become an inexhaustible source for future scientific storytellers.

Academician B. M. Yunusaliev. (1913–1970). KYRGYZ HEROIC EPIC “MANAS”

The epic consists of half a million poetic lines and exceeds in volume all known world epics: twenty times the Iliad and the Odyssey, five times the Shahnameh, and more than two times the Mahabharata.

The grandeur of the Manas epic is one of distinctive features epic creativity of the Kyrgyz people. It is explained by a number of significant circumstances, and, above all, by the unique history of the people. Kyrgyz, being one of ancient peoples Central Asia, throughout its centuries-old history, was subject to attacks by the powerful conquerors of Asia: the Khitans (Kara-Khitans) at the end of the 10th century, the Mongols in the 13th century, the Dzungars (Kalmyks) in the 16th–18th centuries. Many state associations and tribal unions fell under their blows, they exterminated entire nations, and their names disappeared from the pages of history. Only the power of resistance, perseverance and heroism could save the Kyrgyz from complete destruction. Each battle was replete with exploits. Courage and heroism became an object of worship, a theme of chanting. Hence the heroic character of the Kyrgyz epic poems and the epic "Manas".

As one of the oldest Kyrgyz epics“Manas” is the most complete and broad artistic reflection of the centuries-old struggle of the Kyrgyz people for their independence, for justice and happy life.

In the absence of recorded history and written literature, the epic reflected the life of the Kyrgyz people, their ethnic composition, economy, life, customs, mores, aesthetic tastes, ethical standards, his judgments about human virtues and vices, ideas about nature, religious prejudices, language.

To the epic as the most popular work gradually attracted similar ideological content independent fairy tales, legends, epics, poems. There is reason to assume that such episodes of the epic as “Wake for Koketey”, “The Tale of Almambet” and others once existed as independent works.

Many Central Asian peoples have common epics: the Uzbeks, Kazakhs, Karakalpaks - “Alpamysh”, the Kazakhs, Turkmens, Uzbeks, Tajiks - “Ker-Ogly”, etc. “Manas” exists only among the Kyrgyz. Since the presence or absence of common epics is associated with the commonality or absence of cultural, historical and geographical conditions during the period of the emergence and existence of the epics, we can come to the conclusion that the formation of the epic among the Kyrgyz took place in other geographical and historical conditions than in Central Asia. Events telling about ancient periods the stories of the Kyrgyz people confirm this. Thus, in the epic we can trace some characteristic features ancient social formation - military democracy (equal rights of squad members in the distribution of military spoils, election of military commanders-khans, etc.).

The names of localities, names of peoples and tribes, and proper names of people are archaic in nature. The structure of the epic verse is also archaic. By the way, the antiquity of the epic is confirmed by the historical information contained in “Majmu at-Tawarikh” - a written monument of the early 16th century, where the story of the heroic exploits of young Manas is considered in connection with the events of the second half of the 14th century.

It is possible that it was originally created and existed in the form of a short prose tale about the heroic deeds of people who heroically saved the people from extermination. Gradually, talented storytellers turned it into an epic song, which then, through the efforts of each generation, grew into a large poem that included new historical events, new characters, becoming increasingly more complex in its plot structure.

The gradual development of the epic led to its cyclization. Each generation of heroes: Manas, his son Semetey, grandson Seitek - is dedicated to plot-related poems. The first part of the trilogy is dedicated to the legendary Manas - central figure epics. It is based on real events from the earlier history of the Kyrgyz people - from the period of military democracy to patriarchal-feudal society. The events described took place mainly in the territory from the Yenisei through Altai, Khangai to Central Asia. Therefore, we can say that the first part of the epic covers almost the entire centuries-old pre-Tienshan history of the people.

It must be assumed that initially the epic existed without cyclization, but had a tragic ending - at the end of the “Long March” almost everyone died in an unequal battle goodies. The treacherous Konurbai mortally wounds Manas. But the listeners did not want to put up with such an ending. Then the second part of the poem was created, dedicated to describing the life and exploits of the second generation of heroes - the son of Manas Semetey and his associates, who repeat the exploits of their fathers and achieve victory over foreign invaders.

The historical background of the poem “Semetey” corresponds approximately to the period of the Dzungarian invasion (XVI-XVIII centuries). The action takes place within Central Asia. Beloved heroes also become victims of injustice; however, the culprits of their death turn out to be not foreign invaders, but internal enemies - traitors, usurpers who became despots of their people.

Life demanded the continuation of the struggle against internal enemies. This is what the third part of the trilogy is dedicated to - the poem “Seytek”. Here the restoration of justice and freedom is completed. It is precisely this, the high noble goal - the defense of the homeland from foreign invaders and the deliverance of the people from the yoke of despots - that is the main idea of the Manas trilogy.

The first part of the trilogy - the poem "Manas" - begins with a description of the terrible national disaster that resulted from the treacherous attack of the Chinese, led by Alooke Khan, on the country of the Kyrgyz. The people are dispersed different countries light, ruined, plundered, suffering all sorts of humiliations. At such a critical moment, in the family of the elderly and childless Dzhakip, exiled from his homeland to the distant Altai to the hostile Kalmyks, an extraordinary child is born who grows not by years, but by days, filling with supernatural strength. The quickly spreading news of the birth of a hero terrifies both the Kalmyks, who mocked the Kyrgyz in Altai, and the Chinese, who expelled the Kyrgyz from native land Ala-Too. In order to deal with the future formidable enemy, the Chinese and Kalmyks launch repeated attacks, but they are successfully repulsed by the squad of young Manas, who has rallied around himself loyal comrades (“kyrk choro” - forty warriors). The invasion of aggressors forces the Kyrgyz tribes to unite around the hero Manas, who is elected leader of the 40-tribal Kyrgyz people.

The return of the Altai Kyrgyz to their homeland is associated with numerous wars, where main role dedicated to the beloved hero - Manas.

The Kyrgyz re-occupy their lands in the Tien Shan and Altai as a result of their victory over the troops of Tekes Khan, who blocked the path from Altai to Ala-Too; Akhunbeshim Khan, who took possession of the Chui and Issyk-Kul valleys; Alooke Khan, who expelled the Kyrgyz from Ala-Too and Alai; Shooruk Khan - a native of Afghanistan. The hardest and longest war was against the Chinese troops led by Konurbai (“Long March”), from where Manas returned mortally wounded.

The entire first part of the epic is a description of small and large wars (campaigns). Of course, it also contains episodes that tell about peaceful life.

It would seem that the episode “Marriage to Kanykey” should be the most peaceful, however, here too the heroic style of narration is strictly maintained. Manas arrives at the bride, accompanied by his retinue. Manas's failure to comply with the traditional custom when meeting the bride causes feigned coldness on her part, and the rudeness of the groom forces her to inflict a wound on him. The behavior of the bride makes Manas lose patience. He orders the vigilantes to attack the city, punish all its inhabitants, primarily the bride and her parents. The warriors are ready to attack. But the sage Bakai suggests that the vigilantes create only the appearance of an invasion.

Manas's relatives - the Közkamans - do not care about the interests of the people. Blind envy pushes them to commit a crime: they conspire, poison Manas and seize power in Talas. Only the wise Kanykey was able to heal Manas. He restores order in Talas and punishes the criminals.

The heroic style is also strictly maintained in the episode “Wake for Koketey.” Scenes of arrival at the khans' funeral correspond to this style. different nations and tribes with their numerous armies; belt wrestling (kuresh) between the famous heroes Koshoi and Joloi, defending the honor of their people. In the jambu (gold ingot) shooting tournament, which requires high warrior skill, Manas emerged victorious. The competition between Manas and Konurbay on the pikes was essentially a single combat between the leaders of two hostile sides. The grief of the defeated Konurbai is boundless, and he secretly prepares his army to plunder the Kyrgyz.

At the end of the wake, the most interesting and popular look sports - horse racing. And here, despite the barriers and obstacles arranged by Konurbay, Manasov’s Akkula is the first to reach the finish line. Unable to bear the shame of defeat in all competitions, the Chinese and Kalmyks, led by Konurbay, Joloy and Alooke, rob the Kyrgyz and steal herds.

The episode of the “Long March” against the Chinese capital Beijing, in comparison with the episodes of other campaigns, is the largest in volume and the most valuable in artistic terms. Here the heroes find themselves in various conditions of a long campaign and fierce battles, where their stamina, devotion, courage are tested, and positive and negative character traits are revealed. Nature, its fauna and flora are colorfully presented; The episode is not devoid of fantasy and elements of mythology. The battle scenes are distinguished by the precision and perfection of the verse. The focus is on the main characters: Manas and his closest assistants - Almambet, Syrgak, Chubak, Bakai. Their war horses, fabulous weapons, have their due role, but ultimately victory is on the side of those who have powerful physical strength. Manas' opponents are no less powerful, but they are cunning and treacherous, and sometimes gain the upper hand in single combat. In the end they are defeated. The capital of the Chinese, Beijing, has been conquered. According to S. Karalaev’s version, the Kyrgyz achieved complete victory at the cost of the lives of many the best heroes- Almambet, Syrgak, Chubak, and Manas himself returns seriously wounded to Talas, where he soon dies.

Semetey Kanykei, who was left a widow with a baby, erects a mausoleum for her husband. This ends the first part of the epic. From beginning to end, it strictly adheres to the heroic style, which corresponds to the main idea of the poem - the struggle for the unification of the Kyrgyz tribes, for their independence and freedom.

In the early stages of the development of society, in the era when the epic arose, wars were very destructive, therefore many peoples and tribes, quite numerous and strong, completely disappeared over time. And, if the Kyrgyz have survived as a people for more than two thousand years, despite constant clashes with the Uyghurs, Chinese, Genghis Khan’s hordes, and Dzungars, then this is explained by their cohesion, courage and love of freedom. The glorification of courage and bravery in the struggle for freedom and independence corresponded to the spirit of the people. This is precisely what can explain the heroic pathos of the epic, its centuries-long existence, and its popularity.

The death of a beloved hero and the tragic end of the poem did not suit the listeners. The legend had to be continued, especially since there was still a reason for this: the main rival of Manas, the insidious instigator of all the bloody clashes, Konurbay, escaped during the “Great March”.

The beginning of the poem “Semetey” is tragic. Power is usurped by the envious relatives of Abyke and Köbyosh, who destroy everything that reminds of Manas, care only about their well-being, and rob the people. The fate of the surviving heroes of the first part of the trilogy is pitiful: the sage Bakai is turned into a slave, Chyiyrdy’s grandmother is the mother of Manas and Kanykey, dressed as beggars, run to Kanykey’s parents, saving Semetey’s life. His childhood passes by sibling mothers in the kingdom of Temir Khan are unaware of their parents and homeland. Semetey's childhood years are less rich in exploits than the childhood years of Manas, but he is strong enough and learns the art of fighting and winning. At the age of fourteen future hero learns about his parents and native people suffering under the yoke of usurpers.

Returning to Talas, Semetey, with the help of the people, deals with his opponents and takes power. He once again unites the scattered tribes and establishes peace. There is a slight respite.

The envious people of Semetey: his distant relative Chinkozho and his friend Toltoy - decided to attack the capital of Akhun Khan in order to take possession of his daughter, the beautiful Aichurek, before whose birth her father and Manas declared themselves matchmakers. Enemies besieged the city, Akhun Khan is forced to ask for a two-month period to get ready for the bride. Meanwhile, Aichurek, having turned into a white swan, flies around all over the world in search of a worthy groom who would punish the rapists who brought suffering to the inhabitants of her city. From the heights of heaven, she examines the famous heroes of all peoples and lands, assessing each one with feminine observation. But there is no hero more beautiful and stronger than Semetey; there is no place on earth more picturesque than Talas. To entice her lover, she kidnaps his beloved white gyrfalcon Akshumkar.

The description of the meeting of the bride and groom is replete with ethnographic details. Scenes of youth games are full of jokes, enthusiasm and humor. However, to become spouses, love alone is not enough: one must defeat the rapist who demands Aichurek’s hand.

A long and persistent struggle with a countless enemy army ends in the victory of Semetey. Again feasts, games, and wedding ceremonies are held in front of the audience.

Semetey won the hand of the lovely Aichurek. A quiet peaceful life began. But the ethical standards of the time require the new generation of heroes to take revenge on those who are guilty of the unjust death of their fathers.

Semetey's campaign against Beijing and the fight against the treacherous Konurbay, who was also preparing to move against the Kyrgyz, is in many ways reminiscent not only in plot, but also in detail of the “Long March” from the first part of the trilogy. Neither the fabulous physical strength possessed by Semetey and his closest associate Kulchoro, nor magic - nothing could defeat the invulnerable Konurbay. In the end, the Chinese hero was defeated, succumbing to Kulchoro’s cunning.

After returning to Talas, Semetey himself, in the fight against the envious Kyyaz Khan, becomes a victim of betrayal by Kanchoro, who harbors a grudge against him. Traitors become rulers. Aichurek was forcibly taken away by Kyyaz Khan: they were shackled and shared the fate of the slaves Kanykei, Bakai, and Kulchoro.

Such a sad ending to the poem “Semetey” did not answer national spirit, and over time, the third genealogical cycle is created - a poem about Seitek, the grandson of Manas. Her main theme is the struggle of heroes against internal enemies - traitors and despots who have seized power by dishonest means and mercilessly oppress the people.

In Talas, the Kyrgyz languish under the yoke of the traitor Kanchoro and long for liberation, and in another kingdom, in the country of Kyyaz Khan, Seitek, the future hero of the poem, is born. Clever Aichurek manages to use cunning to save the child from Kyyaz Khan’s attempts to kill him. Growing up among shepherds, Seitek learns about his ancestry, his homeland, the fate of his parents and true friends. Seitek manages to cure the paralyzed hero Kulchoro. With him he makes a campaign to Talas and, with the support of the people, overthrows Kanchoro. So, the traitor and despot was punished, freedom was returned to the people, justice triumphed.

It would seem that this should be the end of the epic. However, it has a different continuation for different storytellers.

In S. Karalaev, from whom all three parts of the epic were recorded, the Kyrgyz are attacked by the son of Dzhelmoguz.

In the story of the storyteller Sh. Rysmendeev, who also dictated all three parts of the epic, it is not the mythological Sary-bai who makes the trek to Talas, but a very real figure - the son of the famous Konurbai named Kuyaly. The plot scheme of each cycle outlined above is characteristic of all known variants the epic and constitutes its main plot. However, comparing the options recorded from the words of different storytellers, it is easy to notice some thematic and plot discrepancies.

Thus, only the storyteller Sagymbay Orozbakov has Manas’s campaigns to the North and West, Chubak’s pilgrimage to Mecca only has Sayakbay Karalaev. Sometimes the well-known motive for the unification of Kyrgyz tribes is replaced by the motive for the unification of Turkic tribes.

In the epic "Manas" traces of the ancient Tengri beliefs of the Kyrgyz can be traced. So, the main characters swear before going on campaigns, worshiping heaven and earth.

Who will change his oath?

May the clear sky punish him,

Let the earth punish him

Covered with vegetation.

Sometimes the object of worship is military weapon or fire:

Let Akkelte's bullet punish

Let the fuse of the fuse punish.

Of course, Islam was also reflected, although the Islamization of the epic is, it must be said, superficial in nature and is most noticeable in the motivations for actions. Thus, one of the main reasons for Almambet’s departure from China was his adoption of Islam.

Of course, Islamic motifs were introduced into the epic “Manas” by storytellers of later centuries.

In any case positive characters: Manas, Almambet, Bakai, Kanykey, Syrgak, Chubak, Semetey, Seitek, Kulchoro - are endowed with the traits of real heroes - boundless devotion to their people, perseverance, endurance, courage, resourcefulness, willingness to sacrifice life in the interests of the homeland. These immortal qualities of a patriot are manifested by heroes not in words, but in actions and actions in various situations, under the most tragic circumstances.

The heroic epic “Manas” is also dear because the events described in it have real basis. They reflect the history of the formation of the Kyrgyz people from clans and tribes, as evidenced by the lines transmitted through the mouth of Manas:

I made a cow from a white deer.

From the mixed tribes he made a people.

The events that decided the fate of the Kyrgyz people were vividly reflected in the epic. The mysterious names of people found in it, the names of cities, countries, peoples reflect certain events of various stages of the history of the people. The central battle episode of the “Long March” to Beijing is reminiscent of the Kyrgyz victory in the 9th century. over the Uighurs with the capture of their cities, including Beiting (or Beizhen), returned back only at the end of the 10th century.

If we take into account the re-interpretation of events and names characteristic of oral folk art, then the main enemies of the Kyrgyz people named in the epic either by the Chinese or by the Kalmyks: Alooke, Joloy, Esenkhan - are most likely prototypes real personalities, whose names appear in the chronicles. For example, Esenkhan (in Kalmyk Esentaiji) led the Dzungar (Kalmyk) army in the 15th century. Alaku led the Dzungar invasion in the 17th century, and Bluey (the initial Kyrgyz “j” corresponds to “e” in other Turkic languages) was the leader of the Khitan (Kara-Chinese) troops - tribes of Mongolian origin who moved from Northern China and first defeated the Kyrgyz state in the end X century, and then conquered all of Central and Central Asia from the Yenisei to Talas in the XII century.

In direct connection with the names of individuals, the names of the peoples who appear in the epic as invaders (China, Kalmak, Manchu) should also be considered. Bloody clashes with them are forever preserved in the memory of the Kyrgyz people.

On the other hand, many peoples and tribes were named with whom the Kyrgyz were in friendly relations and jointly opposed the invaders and oppressors. The epic mentions as allies the Oirots, Pogons, Noiguts, Katagans, Kipchaks, Argyns, Dzhedigers and others, who later became part of the ethnic groups of Kazakhs, Uzbeks, Mongols, and Tajiks.

It must be assumed that the positive characters of the epic also have their own prototypes, whose names the people carefully preserved in the epic, which for many centuries replaced written literature and chronicles. There are many fantastic characters in Manas: the “mountain-moving” giant Madykan; one-eyed Malgun, similar to the Cyclops in Homer’s Odyssey, who has only one vulnerable spot - the pupil; sentinel animals; winged tulpara horses that speak human. Many miracles happen here: Aichurek turns into a swan, the weather changes at the request of Almambet, etc., hyperbolism is maintained: a countless number of troops can move without stopping for 40 days; Hundreds of thousands of heads of cattle and, in addition to them, countless wild animals can be driven in as bridewealth; one hero can cope with hundreds and even thousands of enemy warriors, etc. However, fantasy and hyperbolism serve artistic medium to create immortal images of real people who gave their lives for the freedom and independence of their people. Listeners of the epic find true pleasure not in its fantasy, but in the vitality and realism of the ideas and aspirations of the heroes.

Manas in the first part of the trilogy collective image. He is endowed with all the features of an ideal hero, the leader of the troops of the people's squad. Everyone is subordinated to the depiction of his image compositional elements epic: situation, motives, intrigues, etc. The names of the most powerful and terrible animals serve as epithets for it: arstan (lion), kablan (leopard), syrttan (hyena), kekdzhal (gray-maned wolf). Despite the later desire of storytellers to give the image of Manas some features of a feudal ruler - a khan, in the main thematically and plot-related episodes he remains authentically folk hero, deserving love and glory for bravery and bravery in the fight against the enemies of the homeland. In all clashes with the enemy army, victory is ensured by the personal participation of Manas as an ordinary warrior-hero. The real Manas is not jealous of power, therefore, in the great campaign against Beijin, he transfers the staff of the commander-in-chief to the sage Bakai, and then to the hero Almambet.

Secondary characters in the epic serve, as it were, to enhance the image of the main character. The greatness of Manas is supported by his legendary companions - forty warriors (“kyrk choro”). The most famous of them are the wise elders-heroes Koshoi and Bakai, the youth: Almambet, Chubak, Syrgak, etc. They are also distinguished by their powerful physical strength and courage, welded together by friendship and mutual assistance in battle. For each of them, Manas is an ideal, honor and glory, his name serves as their battle cry.

Each of the heroes is endowed with certain qualities. Manas is the owner of incomparable physical strength, cold-blooded, and a great strategist; Bakai is a sage and hero, Manas’s best adviser. Almambet is Chinese by origin, an extraordinary hero, owner of the secrets of nature. Syrgak is equal in strength to Almambet, brave, hardy, and dexterous. The Manas squad “kyrk choro” is capable of hitting any numerically superior enemy.

Characteristic negative characters also serves to glorify the protagonist. The image of Manas is opposed by the image of his main opponent - Konurbai, strong, but treacherous and envious. Joloy is simple-minded, but has inexhaustible strength.

The epic also contains unforgettable images of women. The main character's wife, Kanykey, is especially charming. She is not only a mother who instills in her son honesty and boundless love for the homeland, but also a selfless woman, ready to make sacrifices in the name of the interests of the people. She is a hard worker, a skilled craftswoman, under whose leadership the women sewed impenetrable equipment for their warriors. She heals Manas from a mortal wound, saves him when he, wounded by a traitor, was left alone on the battlefield. She is the wise adviser of Manas.

The characters of the first and second generations have a lot in common. The image of Semetey as a hero is less colorful compared to the image of Manas, but his love for the Motherland and patriotism are recreated very colorfully. Here are the experiences of a young man separated from his people, his struggle with foreign invaders, and mortal battles with traitors to his homeland. In “Semetey” the image of grandmother Chyiyrda, the mother of Manas, and the image of the old sage Bakai continue to develop. At the same time, new types of heroes appear. Aichurek with her romanticism and patriotism is opposed by Chachykey - an ambitious traitor. The image of Kulchoro is in many ways reminiscent of the image of his father Almambet. Kulchoro is contrasted with the touchy and selfish Kanchoro, who becomes a traitor and traitor. At the end of the second and beginning of the third poem, he appears as a usurper, a despot, a merciless oppressor of the people. In the poem “Seytek”, the image of Kulchoro resembles the familiar image of the sage Bakai: he is both a powerful hero and a wise adviser to Seytek.

The main character of the third part of the trilogy, Seitek, acts as a defender of the people from oppressors and despots, a fighter for justice. He achieves the unification of the Kyrgyz tribes, with his help a peaceful life begins.

At the end of the poem, the beloved heroes of the epic: Bakai, Kanykei, Semetey, Aichurek and Kulchoro - say goodbye to people and become invisible. Together with them, Manas’s beloved white gyrfalcon Akshumkar, the dog Kumaik, and Semetey’s tireless horse Taitoru disappear. In this regard, there is a legend among the people that they all still live, roam the earth, sometimes appearing to a select few, recalling the exploits of the fabulous heroes Manas and Semetey. This legend is a poetic embodiment of the people's belief in the immortality of their favorite characters from the epic "Manas".

The poetic techniques of the epic correspond to the heroic content and scale of its volume. Each episode, which is often a thematic and plot-independent poem, is divided into chapter songs. At the beginning of the chapter we are dealing with a kind of introduction, a prelude of semi-prosaic and recitative form (jorgo sez), where alliteration or end rhyme is observed, but the verses are without meter. Gradually, the jorgo sez turns into rhythmic verse, the number of syllables of which ranges from seven to nine, corresponding to the rhythm and melodious music characteristic of the epic. Each line, regardless of the fluctuation in the number of verses, falls into two rhythmic groups, each of which has its own musical stress, which does not coincide with the expiratory stress. The first musical stress falls on the second syllable from the end of the first rhythmic group, and the second - on the first syllable of the second rhythmic group. This placement gives strict poetic symmetry to the entire poem. The rhythmicity of the verse is supported by the final rhyme, which can sometimes be replaced by the initial euphony - alliteration or assonance. Often rhymes are accompanied by alliteration or assonance. Sometimes we have a combination of all types of euphony, rarely observed in versification, along with final rhyme, external and internal alliteration:

Kanatyn guillemot kakkylap,

Kuyrugun kumga chapkylap...

A stanza has a varying number of verses; most often it occurs in the form of a single-rhyme long tirade, which provides the narrator of a grandiose work with the required tempo of performance. Other forms of organizing verse structure (redif, anaphora, epiphora, etc.) are also used in the epic. Various artistic techniques are used to create images. Heroes are depicted dynamically in direct actions, in struggle, in clashes with enemies.

Pictures of nature, meetings, battles, and the psychological state of the characters are conveyed mainly through narration and serve as an additional means for portraiture.

A favorite technique when creating portraits is antithesis with a wide use of epithets, including permanent ones. For example: “kan zhyttangan” - smelling of blood (Konurbay), “dan zhyttangan” - smelling of grain (to Djoloy, a hint of his gluttony); “kapilette sez tapkan, karatsgyda kez tapkan” (to Bakai) - seeing in the dark, finding a way out in a hopeless situation.

As for style, along with the dominant heroic tone of presentation, there is a lyrical description of nature, and in the poem “Semetey” there is also love romance.

Depending on the content, common folk genre forms are also used in the epic: kereez (testament) at the beginning of the episode “Wake for Koketey”, arman (song of complaint about fate) of Almambet during the dispute with Chubak in the “Great March”, sanat - a song of philosophical content etc.

Hyperbole predominates as a means of depicting heroes and their actions. Hyperbolic dimensions surpass all known epic techniques. Here we are dealing with an extremely fabulous exaggeration.

The widespread and always appropriate use of epithets, comparisons, metaphors, aphorisms and other expressive means of influence captivates the listener of “Manas” even more.

Poem language available to the modern generation, since the epic lived in the mouths of every generation. Its performers, being representatives of a certain dialect, performed before the people in a dialect they understood.

Despite this, there is a lot of archaism in the vocabulary, which can serve as material for restoring ancient toponymy, ethnonymy and onomastics of the Kyrgyz people. The vocabulary of the epic reflected various changes in the cultural, economic and political relationships of the Kyrgyz people with other peoples. In it you can find many words of Iranian and Arabic origin, words common to the languages of Central Asian peoples. The influence of book language is also noticeable, especially in the version of Sagymbay Orozbakov, who was literate and showed a special interest in book information. The vocabulary of “Manas” is not without neologisms and Russianisms. For example: mamonot from Russian “mammoth”, ileker from Russian “doctor”, zumrut from Russian “emerald”, etc. At the same time, each storyteller retains the features of his own dialect.

The syntactic features of the epic language are associated with the grandeur of its volume. To enhance the pace of presentation of poetic material as stylistic device Long phrases with stringed participial, participial and introductory sentences are widely used, sometimes in an unusual combination. Such a sentence can consist of three or more dozen lines. In the text of the epic, there are individual violations of grammatical connection (anacoluth), characteristic of large oral works, caused by the need to maintain the size of the verse or rhyme.

In general, the language of the epic is expressive and figurative, rich in nuances, because they worked on polishing it top talents folk literature of previous eras. The epic “Manas”, as the largest monument that has absorbed all the best and valuable from the verbal and speech culture of the people, has played and is playing an invaluable role in the formation of the national language, in bringing its dialects closer together, in polishing grammatical norms, in enriching the vocabulary and phraseology national Kyrgyz literary language.

The historical and cultural significance of the epic “Manas” lies in the fact that over the centuries it had a significant influence on the formation of aesthetic tastes and national character Kyrgyz people. The epic instills in listeners (readers) a love for everything beautiful and sublime, a taste for art, poetry, music, the beauty of the human spirit, hard work, heroism, courage, patriotism, loyalty to a friend, love for real life, the beauty of nature. Therefore, it is no coincidence that the epic “Manas” serves as a source of inspiration for the masters of Kyrgyz Soviet art in the creation of works of art.

Favorite images: Manas, Kanykey, Bakai, Almambet, Semetey, Kulchoro, Aichurek, Seitek and others are immortal primarily because they have such high moral qualities as boundless love for the homeland, honesty, courage, hatred of invaders and traitors. The heroic epic “Manas”, thanks to its high artistry, deservedly takes its rightful place on the shelf of world masterpieces of oral folk art.

1958

(Translation from Kyrgyz)

The duty commanded by God has been fulfilled...

A. S. Pushkin “Boris Godunov”

A century and a half has passed since Russian scientists Chokan Valikhanov and V.V. Radlov informed the world that the “wild stone” Kyrgyz, roaming the foothills of the Tien Shan, have the greatest oral and poetic masterpiece - the heroic epic “Manas”. Episodes of the Kyrgyz legend were recorded, published, and translated into Russian and German.

Many scientific works have been written about the trilogy “Manas”, “Semetey”, “Seytek”, scientific conferences, in 1993, the 1000th anniversary of the epic was celebrated at the world level.

Years passed, but our valiant hero never reached the broad masses; few people know the content of the epic itself, not only abroad, but also in the homeland of Manas. And the reason, apparently, is that the text of “Manas” is very voluminous and multivariate. It is impossible to translate it into verse, and in a prose translation “Manas” loses half of its artistic merits. Imagine an uncut ruby! “Zhanbashtap zhatyp sonunda” is one thing, that is, lying on your side and admiring nature, listening to a manaschi storyteller, another thing is reading about all this yourself. But the main reason, perhaps, is that until now it has not been translated either in prose or verse. artistic content epic, but its performance in the interpretation of one or another storyteller. This is the same as translating not a drama by W. Shakespeare, but his production on stage, or, let’s say, not a novel by A. S. Pushkin, but an opera by P. I. Tchaikovsky “Eugene Onegin”.

So, like the storytellers of “Manas,” I dreamed...

I went to visit my Manas and saw: he came out of the felt yurt and in all his fighting glory was prancing on his white horse around the closed circle of the paddock. People stand around, admiring the grandeur Kyrgyz hero. And the guide enthusiastically talks about his glory and past exploits. And Manas himself is already gray-haired, and Ak-Kula has dark streaks around his eyes. I tried to open the gate of the pen, but, alas, my strength was not enough. And I, as always, called for help from my faithful and powerful friend - Great Russian language and sat down to translate, or rather to write a poetic translation of “Manas”.

Historians have proven that the events of the tale took place in the Middle Ages AD, so they had to abandon fantasy and fairy-tale hyperbole, religious and other layers of pan-Turkism and pan-Islamism introduced by storytellers after the tragic events of 1916, when the Kyrgyz people, finding themselves between two great powers: Russia and China, was subjected to brutal genocide.

In 1856, Ch. Valikhanov called the epic “Manas” the steppe “Iliad”. I consider the epic “Manas” to be the Bible of mountains and steppes, and therefore I tried to preserve and biblical motifs, clarify and summarize the parable thoughts of the Great Legend. To the best of his abilities, he tried to preserve the canonical plot of the epic, build the logic of the characters’ behavior and the development of events, and convey the figurative flavor of the Kyrgyz language.

The first, one might say, trial edition of my “Tale of Manas” was published in 2009 in a small edition and immediately went to the people. The Ministry of Science and Education recommended the book as an additional textbook on the epic “Manas”. In Russian academic theater them. Ch. Aitmatov carried out a literary and dramatic production of the same name performed by Kyrgyz actors in Russian.

The second edition of “The Legend” is supplemented by a retrospective preface by Academician B. Yu. Yunusaliev, at the end of the book there is a scientific summary by Professor G. N. Khlypenko. Undoubtedly, the works of famous Kyrgyz scientists will complement readers’ knowledge about outstanding masterpiece Kyrgyz people.

I hope that the Russian text of “The Tale of Manas” will become the basis for translating the Kyrgyz epic into other languages and that our legendary hero will rush along the equator of the globe.

Good journey to you, my valiant Manas!

Mar Baydzhiev.

Academician B. M. Yunusaliev

(1913–1970)

KYRGYZ HEROIC EPIC “MANAS”

The grandeur of the epic “Manas” is one of the distinctive features of the epic creativity of the Kyrgyz people. It is explained by a number of significant circumstances, and, above all, by the unique history of the people. The Kyrgyz, being one of the most ancient peoples of Central Asia, throughout their centuries-old history were subject to attacks by the powerful conquerors of Asia: the Khitans (Kara-Kitai) at the end of the 10th century, the Mongols in the 13th century, the Dzungars (Kalmyks) in the 16th–18th centuries. Many state associations and tribal unions fell under their blows, they exterminated entire nations, and their names disappeared from the pages of history. Only the power of resistance, perseverance and heroism could save the Kyrgyz from complete destruction. Each battle was replete with exploits. Courage and heroism became an object of worship, a theme of chanting. Hence the heroic character of the Kyrgyz epic poems and the epic “Manas”.

As one of the oldest Kyrgyz epics, “Manas” is the most complete and broad artistic reflection of the centuries-old struggle of the Kyrgyz people for their independence, for justice and a happy life.

In the absence of recorded history and written literature, the epic reflected the life of the Kyrgyz people, their ethnic composition, economy, way of life, customs, mores, aesthetic tastes, ethical standards, their judgments about human virtues and vices, ideas about nature, religious prejudices, and language.

The epic, as the most popular work, gradually attracted independent fairy tales, legends, epics, and poems with similar ideological content. There is reason to assume that such episodes of the epic as “Wake for Koketey”, “The Tale of Almambet” and others once existed as independent works.

Many Central Asian peoples have common epics: the Uzbeks, Kazakhs, Karakalpaks - “Alpamysh”, the Kazakhs, Turkmens, Uzbeks, Tajiks - “Ker-Ogly”, etc. “Manas” exists only among the Kyrgyz. Since the presence or absence of common epics is associated with the commonality or absence of cultural, historical and geographical conditions during the period of the emergence and existence of the epics, we can come to the conclusion that the formation of the epic among the Kyrgyz took place in different geographical and historical conditions than in Central Asia. Events telling about the most ancient periods of the history of the Kyrgyz people confirm this. Thus, the epic traces some characteristic features of an ancient social formation - military democracy (equality of squad members in the distribution of military spoils, election of military commanders-khans, etc.).

The Kyrgyz people have the right to be proud of the richness and diversity of oral poetic creativity, the pinnacle of which is the epic “Manas”. Unlike the epics of many other peoples, “Manas” is composed from beginning to end in verse, which indicates the special attitude of the Kirghiz to the art of versification. The epic "Manas" consists of half a million poetic lines and exceeds in volume all known world epics (20 times - "Iliad" and "Odyssey", 5 times - "Shahname", 2.5 times the Indian "Mahabharat"), is the longest epic in the world and is included in the treasury of world culture.

The grandeur of the Manas epic is one of the distinctive features of the Kyrgyz epic creativity. It is explained by a number of significant circumstances, primarily the unique history of the people. The Kyrgyz, being one of the most ancient peoples of Central Asia, throughout their centuries-old history were attacked by the powerful conquerors of Asia - the Khitans (Kara-Kitai) at the end of the 10th century, the Mongol horde in the 13th century, the Dzungars (Kalmyks) in the 16th-18th centuries. Many state associations and tribal unions fell under their blows, they exterminated entire nations, and their names disappeared from the pages of history. Only the power of resistance, perseverance and heroism could save the Kyrgyz from complete destruction. Each battle was replete with the exploits of the faithful sons and daughters of the people. Courage and heroism became an object of worship, a theme of chanting. Hence the heroic character of Kyrgyz epic poems in general and the epic “Manas” in particular.

As one of the oldest Kyrgyz epics, “Manas” is the most complete and broad artistic reflection of the centuries-old struggle of the Kyrgyz people for their independence and freedom, justice and a happy life. In the absence of a recorded history and the underdevelopment of written literature in the epic as a popular folk work reflected not only the centuries-old history, but also the diverse pre-revolutionary life of the Kyrgyz people, their ethnic composition, economy, way of life, customs, mores, aesthetic tastes, ethical standards, judgments about human virtues and vices, ideas about the surrounding nature, religious prejudices, poetics and language.

Manas, the hero of the epic of the same name, united all Kyrgyz people and is a symbol of the unity of the Kyrgyz people.

Seven Testaments of Manas

1) Unity and cohesion of the nation.

2) Interethnic harmony, friendship and cooperation.

3) National honor and patriotism.

4) Through hard work and knowledge - to prosperity and well-being.

5) Humanism, generosity, tolerance.

6) Harmony with nature.

7) Strengthening and protecting Kyrgyz statehood.

Many institutions, organizations, streets, the airport in Bishkek, a university, one of the first Kyrgyz operas, and an asteroid discovered by astronomer Nikolai Chernykh in 1979 are named after Manas in Kyrgyzstan.

Also in honor of this epic hero The highest award of Kyrgyzstan has been named.

In China there is a lake named after Manas.

In 2012, a monument to Manas was opened in Moscow, which is located in Friendship Park; the work belongs to the creative group of Zhoomart Kadyraliev. About 41 million rubles were spent on installation and production.

Uniting the Kyrgyz. “Manas” is included in the list of masterpieces of the intangible cultural heritage of humanity by UNESCO, as well as in the Guinness Book of Records as the most voluminous epic in the world.

Parts and storytellers[ | ]

The epic consists of 5 parts, actually “Manas”, “Semetey”, “Seytek”. The main content of the epic consists of the exploits of Manas.

The versions (1867-1930) and Sayakbay Karalaev (1911-1971) are considered classic. From Sagymbay, researchers in the 1920s recorded only a part about Manas itself (about 19 thousand lines); The entire trilogy (937 thousand lines) was written down from Sayakbai.

In addition, researchers recognize the most significant records of the part about Manas made by the storytellers Togolok Moldo (1860-1942), Moldobasan Musulmankulov (1884-1961), Shapak Rysmendeev (1858-1956), Bagysh Sazanov (1818-1918), Ibraim Abdyrakhmanov ( 1888-1960), Mambeta Chokmorova (1846-1932)

The most famous Xinjiang storyteller Dzyusup Mamai (Kyrgyz.)(Jusup Mamai) - his version of the 8 parts of the epic occupies about 200 thousand lines and was published in 18 volumes in Urumqi (1984-2007).

For a comparative assessment of the volume of epics, it is important to keep in mind the poetic size: basically “Manas” is composed with 7- and 8-syllable syllabic verses, but in Sagymbay Orozbakov’s version there are 4-, 5- and 6-syllable verses, close to rhymed prose, and in Sayakbai Karalaev's version there are also lines from 9-syllable to 12-syllable.

History of the epic [ | ]

Tradition traces the origin of the epic to the legendary era, calling the first performer the comrade-in-arms of Manas himself, Yrchi-uul, the son of Yraman, who sang the hero’s exploits at his funeral; combined the lament songs that existed separately among the people into one epic legendary singer Toktogul (the Kirghiz of the first half of the 20th century believed that he lived 500 years ago). Other storytellers are known to tradition, as well as the names of many 19th-century manaschi whose work was not recorded.

Modern scholars have not come to a consensus about the time of the epic. Hypotheses have been put forward that its basis is connected with the events of the history of the Kyrgyz in the 9th century. V. M. Zhirmunsky believed that the historical background of the work as a whole corresponds to the conditions of the 15th-18th centuries, although it contains more ancient ideas.

The first mention of the epic dates back to the 16th century. They are contained in the semi-fantastic work of Majmu at-Tawarikh, where Manas is shown as a historical figure acting together with the real-life Tokhtamysh, Khorezmshah Muhammad, etc.

Manas enters into an unequal battle with the Uighurs and wins. In this battle, the khan of the Kyrgyz tribe of Katagans, Batyr Koshoi, provides him with invaluable assistance. One of the defeated Uyghur rulers, Kayypdan, gives Manas his daughter Karabyoryk, who herself expresses a desire to become the batyr’s wife.

At the suggestion of Koshoy, Manas decides to return to the people the native lands of Ala-Too, captured by the opponents of the Kyrgyz. Gathering an army, he enters the battle and wins. The Kyrgyz decide to migrate from Altai to their ancestral lands. Manas and his clan are located near the sacred black mountains.

The old enemy of the Kyrgyz, the Chinese Khan Alooke, decides to stop the expansion of the Kyrgyz and begins to prepare for the campaign. Having learned about this, Manas urgently sets out on a campaign with his forty warriors. He easily disperses the enemy army and captures the headquarters of Khan Alooka. Seeing the determination and courage of the hero Manas, Alooke decides to make peace with the Kirghiz and, in recognition of his submission, gives Manas his son Booke.

At this time, on the southern borders, the confrontation between the Kyrgyz clans and the Afghan Khan Shoruk intensified. Having gathered an army, Manas enters the battle. The defeated Afghan ruler enters into a diplomatic marriage alliance with the Kyrgyz, marrying his daughter to Manas and sending forty of her servants with her.

A separate plot branch of the epic tells the story of the hero Almambet. It covers events from the moment of his birth to his arrival to Manas. Almambet's father Sooronduk was one of the major Chinese commanders. For a long time he was childless, and, having reached adulthood, finally finds a son. from childhood he comprehends science, masters the art of magic and witchcraft, studies at the school “Dragon Teaching” (in the Kyrgyz language “Azhydaardyn okuusu”), children from noble families study with him, but turns out to be the best among them in learning, and later grows into a brave warrior. Judgment, honesty, courage make him famous. At a young age, Almambet becomes his father's successor, leading all the troops of the Chinese army. One day, while hunting, he meets Khan Kökçö, who calls him to the light and to leave witchcraft. Returning home, Almambet calls on his relatives to convert to a new faith. Neither parents nor relatives even want to listen to Almambet. Sooronduk orders the arrest of his son, who abandoned the “faith of his ancestors.” Having escaped from the Chinese, Almambet finds refuge with Kökçö. Almambet's generosity, rationality and justice contribute to the strengthening of his glory. But the horsemen of Khan Kökçö are jealous of their ruler’s new confidant. They spread a false rumor about the closeness of Almambet and the wife of Khan Kökçö Akerçek. Unable to bear the slander, Almambet leaves Kökçö.

And then the hero accidentally meets Manas, who went hunting with his forty horsemen. Manas has long heard about Almambet and therefore greets him with honors and arranges a feast in his honor. Manas and Almambet become twin cities.

And since Manas married Akylai and Karabyoryk in order to make peace, the hero asks his father Zhakyp to find a wife for him. After a long search, Zhakyp arrives to Khan Atemir in Bukhara, where he has taken a liking to the daughter of Khan Sanirabiga. Zhakyp wooes her, pays a rich ransom, and Manas, according to all the rules, takes Sanirabiga as his wife. The Kirghiz call Manas's wife the name Kanykey, which means “who married the khan.” Forty horsemen of Manas marry forty girls who arrived with Kanykey. Almambet marries the daughter of the patron saint of wild mountain animals, Aruuke.

Having learned about Manas, relatives who were in exile far to the north decide to return to him. These are the children of Zhakyp’s elder brother, Usen, who lived for many years among foreign people, who took wives from the Kalmaks and forgot the customs and morals of their ancestors. Among the Kalmaks they were called Kezkamans.

At this time, Manas is forced to go to the aid of the batyr Koshoy. The Afghan Khan Tyulkyu, taking advantage of Koshoy's absence, raids the Katagan tribe and kills the son of the Kyrgyz hero. But Tyulkyu’s younger brother, Akun, decides to avoid bloodshed and settles the feud that broke out between the Kyrgyz and Afghans. Tyulkyu admits guilt, pays a ransom for the murder of his son Koshoy and cedes his throne to Akun. Manas and Akun enter into a friendship agreement and agree that their children, if they have a boy and a girl, will be engaged. In addition, the son of the Kyrgyz Khan Kökötöy (who settled in Tashkent after the expulsion of Panus), Bokmurun expresses a desire to marry Tyulkyu’s daughter named Kanyshay. On the advice of Manas, Bakai goes to Tyulky for matchmaking and performs all the required rituals.

During Manas's absence, the Közkamans arrive. she happily meets her husband's relatives and, according to custom, gifts them with everything necessary for running the household. Returning from a campaign, Manas arranges a feast in honor of his relatives. He gives them land, livestock and various utensils. Despite such a warm welcome, the envious Közkamans plot against Manas. They decide to poison the hero, take the throne and take possession of all the property of Manas. The Kezkamans find a convenient time to lure the batyr and his squad to visit. Returning after another campaign, Manas gladly accepted the invitation. Poison is mixed into the food of the hero and his warriors. The surviving Manas solders off all his warriors and returns to headquarters. The Közkamans are looking for those responsible for the failure, a quarrel breaks out between them, they all use knives and die.

The glorious Kyrgyz Khan Kökötöy, having reached old age, leaves white light. Having left his son Bokmurun a will with instructions on how to perform a burial and how to arrange all posthumous rituals, he also bequeaths to seek advice from Manas. After burying Kökötöy, Bokmurun prepares for three years to organize a funeral feast. Manas takes control of Kökötöy's funeral feast into his hands. Numerous guests from the most distant countries arrive for the funeral feast. Bokmurun offers rich prizes to the winners of various competitions. A number of Kyrgyz elders and khans individual genera express dissatisfaction with the fact that Manas alone controls the process of the funeral feast. They gather a council and decide to openly express their demands. But the conspirators are pacified by Elder Koshoi. He persuades them not to start a quarrel in front of numerous guests, among whom are old enemies of the Kirghiz, and promises the conspirators to pacify Manas after the funeral feast.

A year later, the conspirators demand from Koshoy that he head their embassy to Manas and help them remove the wayward ruler. Koshoi, citing his age, refuses to follow the lead of the conspirators. Then they decide to send messengers to Manas to inform him that all the noble heads of the Kyrgyz clans are going to visit him as guests. Their plan was to come to Manas in a large group, force him to make some mistake in the ritual of hospitality, start a quarrel and then make demands to renounce the title of khan. Manas agrees to receive noble guests with all their numerous retinue. Arriving guests are met by forty warriors and all arrivals are accommodated in their yurts and villages. Having seen such unity of the warriors and having become convinced of the unshakable power of Manas, the Kyrgyz khans understand that they are in an awkward situation. When asked by Manas about the purpose of their arrival, no one dares to answer anything intelligible. Then Manas informs them that news has reached him about a campaign being prepared against the Kirghiz. The Chinese Khan Konurbay, who harbors a grudge for previous defeats, gathers an army of thousands to once again subjugate the Kyrgyz. Manas calls on the Kyrgyz khans to forestall the enemy and go on a campaign themselves, with united forces to defeat the enemy on his territory and stop all attempts to conquer the Kyrgyz. The khans are forced to accept Manas's offer. Bakai is elected Khan of all the Kyrgyz for the period of the great campaign, and Almambet becomes the main commander of the Kyrgyz army. He leads them to the Chinese capital Beijing.

Having passed a long and difficult path, the Kyrgyz army reaches the borders of the Chinese state. Leaving the army at a halt, Almambet, Syrgak, Chubak and Manas go on reconnaissance. Having penetrated deep into enemy territory, they hijack numerous herds. Chinese troops rush in pursuit of the hijackers. A battle ensues, the Kyrgyz manage to defeat and disperse the enemy army of thousands. According to the epic, Manas and his army (Tyumen) capture Beijing (“Beezhin” translated from the Kyrgyz language as “bad mare”) and rule for six months. The Chinese pay them tribute and declare their desire to make peace. Manas generously decides to spare Konurbai and the rest of the Chinese nobles. But Konurbay could not accept defeat and one by one kills the best Kyrgyz warriors. They die, Chubak and... Having secretly penetrated the battle headquarters of Manas, Konurbay inflicts a mortal wound on the hero, hitting him in the back with a spear when the unarmed hero was performing the morning prayer namaz. Returning to his homeland, Manas cannot recover from his wound and dies. buries the hero in. The tragic ending of the first part of the trilogy achieves realistic authenticity. Manas' dying testament speaks of tribal strife and the weakening of the power of the Kyrgyz people united by Manas. The birth of Manas's son, Semetey, already predetermines the future revenge for his father's defeat. This is how the second poem arose, ideologically and plot-related to the first part, dedicated to the biography and exploits of the son of Manas and his associates, who repeat the heroism of their fathers and achieve victory over foreign invaders.

Not even forty days have passed since the death of Manas when Zhakyp begins to demand that Kanykey be given as a wife to one of Manas’s half-brothers. Manas is replaced by his half-brother Kobesh, who oppresses and seeks to destroy the baby Semetey. Kanykey is forced to flee with the baby to her relatives. Semetey grows without knowing its origin. Having reached the age of sixteen, he learns that he is the son of Manas and expresses a desire to return to his people. He returns to Talas, where his father's headquarters was located. The enemies of Manas, among whom were the half-brothers Abyke and Kobesh, as well as the warriors who betrayed him, die at the hands of Semetey. Batyr marries Aichurek, to whom he was engaged even before birth, according to the promise of Manas. He raids Chinese territory and kills Konurbai in single combat, avenging his father's death. Semetey is betrayed by Kanchoro, who entered into an agreement with the enemy Kyyas. Having received a mortal wound from Kyyas, Semetey suddenly disappears. His devoted comrade-in-arms Kulchoro is captured, and Aichurek becomes the prey of his enemies. The traitor Kanchoro becomes khan. Aichurek is expecting Semetey’s child, but no one knows about it.

The heroic poem "Semetey" is the most frequently performed cycle of the trilogy. The courageous heroes of the poem also become victims of injustice, but the culprits of their death are not foreign invaders, but internal enemies.

The third part of Manas, Seitek, is dedicated to the epic narrative of the struggle against internal enemies. It tells the story of the hero Seitek, the grandson of Manas, and is a logical continuation of the previous parts. This part contains the same ideological basis associated with the desire to preserve the unity of the people, get rid of external and internal enemies and achieve a peaceful life. Plot basis The epic “Seytek” consists of the following events: the upbringing of Seytek in the camp of the enemies of his father, who does not know about his origin, the maturation of Seytek and the revelation of the secret of his origin, the expulsion of enemies and the return of Semetey to his people, the unification of the people and the onset of peaceful life. The images of Semetey and Seitek reflect the desire of the people to preserve the legends about Manas in heroic life his descendants.