Open Access«Qyz korelik», «Aina-taraq» and «Totynama»: Commonality with Indian plots
Author(s) -
Bauyrzhan Zh. Omarov
Publication year - 2022
Publication title -
keruen
Language(s) - English
Resource type - Journals
eISSN - 2790-7066
pISSN - 2078-8134
DOI - 10.53871/2078-8134.2022.1-02
Subject(s) - kazakh , plot (graphics) , history , literature , girl , art , philosophy , linguistics , psychology , developmental psychology , statistics , mathematics
The current research is devoted to study how the plots of the world-wide collection of stories «Totynama» are reflected in the Kazakh and Kyrgyz fairy tales, as well as in our written literature. The author focuses on the origin of the story about three husbands of one girl that is very popular among Indian literary monuments. A number of works of Kazakh poets and writers are based on this story. Among them «Qyz korelik» by T. Zhomartbayev and «Aina-taraq» by Bazar zhyrau Ondasuly, as well as a number of variants of Kazakh fairy tales are considered. In the current paper the author pays special attention to the issue of usage of a well-known Oriental plot as the core of the story or as an element of the work. The idea of the process of transformation of a short story into an artistic creation or the appearance of several parts of the same story in different works is considered. The main thing is that the article contains a lot of information about the origin, sources and ways of development of the Oriental plot. The masterpieces of world literature in which these plots are used as «Totynama» by Ziya ad-Din Nahshabi, «Totynyn angimeleri» (Tota Kakhani) by Saiyd Haidar Bakhsh Haidari, «Tungi zhaukharlar» (Pearls of conversations) (Dzhavakhir al-asmar), «Vetalanyn zhiyrma bes angimesi» by Imad ibn Muhammad an-Naari, «Sindabad-name» by Muhammad az-Zahiri al-Samarkandi as well as a number of versions of «Totynama» that spread in our country and among Chinese Kazakhs are analyzed. In addition, new ideas are expressed about the nature and character of the eastern plot, its spread to the world population, its transformation, and adaptation to the mentality of the nation, its assimilation into a new work, its integration into oral and written literature. The author does not neglect a single difference in the process of changing plots. The specific features of the plot, which are embodied in each work are emphasized as well. It is worth paying attention to such complex details as the emergence of several literary plots from the one plot, the occurrence of often-repeated traditional details, the presence of common patterns in the origin and sequence of the story.