Global Journal of Human-Social Science, A: Arts and Humanities, Volume 22 Issue 5

romantic story, a lyrical epic poem, a love story, a folk (anonymous) novel, a heroic and adventurous work; often epic in general is called dessan” [11, 49]. The epic form that has existed since ancient times in Turkic literature, combining poetry and prose in one work, “is not a feature of the exclusively Turkic tradition. In Sanskrit , there is the word champu , it means an epic in which prose alternates with poetry. Prose, interspersed with passages of poetry, is also a form of the ancient Irish sagas ” [21, 121]. In contrast to the ideological content of the epic “Gorogly”, which is dominated by heroic motives associated with the protection of the family, tribe, native land, in most Turkmen dessans the motives are fairy- adventure, associated with the search for a beloved. With an unchanged structure, the plots of dessans can be love-lyrical, fairy-tale-fantastic, heroic, realistic, religious, where each subspecies has its branches [28, 38]. According to the nature of the plot, the researchers group the dessans into two groups: Turkmen-Oguz (“Shasenem and Garyp”, “Asli and Kerem”, “Zohre and Tahyr”, “Sayat and Hemra”), and dessans, the origins of which lie in Persian literature (“Leyli and Medjnun”, “Gul and Senuber”, “Hurlyukga and Hemra”, “Yusup and Ahmet”) [12, 68]. According to the type of creativity, dessans are classified into folk- poetic and individual (author's poems). Local fairy tales and legends are reflected in the plots of folk poetic dessans. Author's dessans were created based on stories from world literature. In terms of artistic and expressive means, all groups of dessans are close to each other. Unlike the epic, conflicts are significantly transformed in dessans, more attention is paid to the images of heroes, song fragments are saturated with emotional expressiveness. In a number of dessans, the heroes act as bagshy, which speaks of the love of Turkmens for their folk performers. Such, for example, are the legends “Sayat and Hemra”, “Hyurlyukga and Hemra”, “Shasenem and Garyp”, “Yusup and Ahmet”. A talented singer is the protagonist of the epic “Gorogly”, his songs are organically woven into the fabric of the narrative. Among the Turkmen legends, the dessan “Nedjep oglan” stands apart – a kind of autobiography of a folk musician, which describes the path of a young man who wished to become a bagshy. The most ancient genre in the repertoire of bagshy-dessanchy is the genre of legend with music . Widespread in all performing schools, this genre gained the greatest popularity in Mary. The fulfillment of the legend here is a characteristic and ubiquitous phenomenon. Even though they are not narrators, the musicians of the Mary school have a number of legends in their repertoire, in which the narration alternates with songs and instrumental fragments: “Darayi donly”, “Jeren bokushi”, “Uzuklar”, “Kepderi”, “Goch egren”. The genre of transcription of the works of classical poets appeared relatively recently, but is perceived by listeners with great enthusiasm. The depth and philosophical content of the poetic heritage of the great thinkers of the past – Hoja Ahmed Yasawi, Abdurakhman Jami, Alishir Novai, Magtymguly – are not always clear to the modern listener and require a separate explanation. Bagshy “decipher” poetic works, focusing on the idea hidden in the works of Turkmen classics. The explanation is conducted in a recitative manner and invariably ends with a song. Magtymguly's poetic heritage is an inexhaustible source of inspiration for folk storytellers. Today, the explanation of the poetic works of classical poets has become a tradition and has taken shape in the genre of musical and poetic transcriptions. VI. C onclusion Thus, the presented materials reveal the panorama of the formation of the epic heritage of the Turkmens. Associated in their genesis with ritual creativity, epic genres have been formed over thousands of years. The repertoire of modern Turkmen dessanches includes various genres: these are the legends about Gorkut and Gorogly, huge in length and known to the entire Turkic-speaking world; these are both folk and author's dessans; genres of musical and poetic transcriptions; as well as legends with music, the distribution area of which coincides with the boundaries of the residence of one ethnic group. Dozens of talented storytellers polished and improved the inherent genetic and cultural potential of the Turkmen people with their inspired art. Thanks to the unique art of epic storytellers, the ancient tradition of Oguz ozans, passed down from generation to generation, lives on today. Occupying a strong place in the repertoire of folk singers of all performing styles, these genres are enriched and improved. R eferences R éférences R eferencias 1. Agadzhanov S. Ocherki istorii oguzow I Turkmen Srednei Azii IX-XIII vekov [Essays on the history of the Oguzes and Turkmens of Central Asia in the 9th- 13th centuries]. Ashgabat: Ylym Publ., 1969. 2. Bartold V. Ocherk istorii turkmenskogo naroda. Turkmeniya. T. 1. [Essay on the history of the Turkmen people. Turkmeniya. Vol. 1]. Leningrad: Nauka Publ., 1929. 3. Bartold V. Turkmeny. Bartold V. Sochineniya. V [Turkmens. Works. Vol. 5.] Moscow: Nauka Publ., 1968, pp. 572-575. 4. Basilov V. O perejitkah totemizma u Turkmen [On the survivals of totemism among the Turkmen]. Ashgabat: Academy of Science of Turkmenistan Publ., 1963, pp. 135-151. Volume XXII Issue V Version I 16 ( ) Global Journal of Human Social Science - Year 2022 © 2022 Global Journals A Turkmen Epos: Origin and Modern Conditions