Opción, Año 33, No. 85 (2018): 87-106
ISSN 1012-1587 / ISSNe: 2477-9385
Turkic
"Hikaya" genre
and its characters
Akbota Akhmetbekova
Al-Farabi Kazakh National University, Kazakhstan, 050040, Almaty city,
Avenue al-Farabi 71 axbota@mail.ru
Pakizat Auyesbayeva
Institute of Literature and Art named for M.O. Auezov,Kazakhstan,
050010,
Almaty city, Kurmangazy street, 29 ksaryarka@inbox.ru
Shakimashrip Ibrayev
Eurasian National University. L.N. Gumilev, 010008,
Astana city, Satpayev street, 2 sh.ibraev1950@mail.ru
Abstract
One of the complex genres in narration, legend prose of Turkic
language people is called “hikaya”.¿Why do we
distinguish this genre? ¿What are the criteria for determining
this
genre? ¿How does it differ from other genres of Turkic folklore? ¿How to differentiate its characters? ¿Why is the genre of "hikaya" still taking place in the worldview of modern people? It is these issues that enable us to single out the genre of "hikaya"
in Turkic
literature. Hikaya (true story)
is based
on the belief in the existence
of
various evil beings, a
meeting with which brings a
person misfortune and trouble.
Key words: hikaya, legend, myth, folklore, motive, plot, structure,
composition, function, character.
Recibido: 10-01-2018 Aceptado: 09-03-2018
88
Akbota Akhmetbekova et al.
Opción, Año 34, No. 85 (2018): 87-106
Género turco "Hikaya"
y sus personajes
Resumen
Uno de los géneros complejos
en la narración, la leyenda en prosa de la lengua turca se llama "hikaya". ¿Por qué distinguimos este género?
¿Cuáles son los criterios para determinar
este género? ¿En qué se
diferencia
de otros géneros del folclore turco? ¿Cómo diferenciar sus personajes? ¿Por qué el género de "hikaya" todavía está teniendo lugar en
la cosmovisión de la gente moderna? Son
estos
temas
los que nos permiten destacar el género de "hikaya" en la literatura turca. Hikaya (historia real) se basa en la
creencia en la
existencia de varios seres malvados, una reunión la cual
trae a la persona desgracias y problemas.
Palabras clave: hikaya, leyenda, mito, folklore, motivo, trama,
estructura, composición, función, carácter.
1. INTRODUCTION
It has appeared on the base of people’s
prejudices
and
also genres
like
“myth”, “legend”, “fairy-tale”,
folk religious beliefs and etc. If the
transmitter (narrator) genres “myth”, “legend”,
“story” may not believe in their content, “hikaya” differs from
them in that the narrator necessarily believe in its contents. People prejudices come from deep inner state and thinking capability
of
a human world view and “hikayas” describing it, show interrelation of nature with human being, so
these hikayas
are survival examples of that information. We know that “hikaya” does not provide answers to some of the physical and metaphysical phenomena
happening beyond person’s instinct, intuition, but it has certain place in
human outlook and serves as an
indicator. In a certain case “hikaya” is the
genre born in the combination
of
archaic religious and new beliefs, its
signs have syncretic character.
This syncretic character “hikaya” is due to the nature of the genre. The nature of “hikaya” was to join the past and the
future. Why the past, because the characters are from myths, and they disappear, images were from very ancient time. However, namely, that
the images create the first layer of the Turkic world, and has been with the common people. In the past at least, it is separated from the characters to the former capacity, believe that it is associated with the mythological era
gone through power (Shapauov, et al., 2014). And say this time, “hikaya”
event is registered as a fact, which is in respect of a person who belongs to
the present day. Even being out of power nowadays these characters influence on the life of modern man.
If there is clarity
in “myth”, “legend”, and the “story” genres,
defining “hikaya” materials, it is quite difficult because the “hikaya” is still connected with “fairy tale”, “myth” and “legend”. On the basis of connection the “hikaya” genre is adaptable to transfer to genres such as “legend”, “story”, “äpsana”, “fairy
tale”, “dastan”. The first reason is -
“hikaya” genre’s changeability is common for the characters of this genre.
For
example, the mythical character Zhalmayz Kempir (Witch) is found in
fairy tales, in the epic story (Pritchett,
1991). And Jeztırnaq is so much seen in fairytales, while determining the “hikaya”
great attention is paid to
the
relationship of these characters with people and the issue is people
trust or do not trust them (Özdemir,
2013). Distrust of their faith in the
context of human-ratio
depends on several factors: narrator's story form; how listener perceive it, mentality, the actual location of the incident,
traces, evidence of the impact of events in succession. The second reason
of the “hikaya” genre transformation is, there is a specific event or events
on the basis of the story, that story
about the people involved in a number
of
arguments and position of the first event, the geography of the event will be able
to give specific information about the time, but as
the
narrator move away from the scene, this documentary
gets dimmer, eventually in the context of the story in the end of the folk genre specific information disconnects. The lack of specific data changes listener’s relation towards
the
hikaya (Baghban, 1972). When it happens, the text of the hikaya forced to switch to other genres.
Hence the difficulty to determine the text
of the “hikaya” genre is closely
connected with character types and the listeners.
2. METHODOLOGY
Typology leads to better, more complete and more precise knowledge
of
each subject, and is one of the scientific methods. Turkish hikaya whit of all sizes, importance and past, have not yet been fully
categorized. In the material we
use the historical and
comparative methods.
And we compare the character
“hikaya” with other Turkic
folklore (EROL, 2010). Various
techniques developed
in the system of
Philology: narrative-discursive method, comparative-historical,
comparative-typological, source study, cultural-historical and others in the
course of the study were used. In the study
of
the genre of "hikaya", a
narrative-discursive method that
reveals a special relationship between the
narrator and the listener was used, since the main criterion for determining
this genre is faith and trust between them. "Documentalism"
of many plots of hikaya does not allow to doubting the veracity of the story, but without
them, with the help of a special discourse, the atmosphere
of the transmission of
a
real
event was created.
Communication
plays an
important role in the preservation of the specifics of the genre "hikaya"
(Omidsalar, 1984).
The comparative-historical method will always be the main method
in study the texts
of
the Turkic
"hikaya" genre, as the legacy of the Turkic
peoples has undergone significant
changes due to the division into nationalities. This, in turn, makes its mark in the development
of certain
"hikaya" stories and the transformation of characters. The cultural- historical method arises on the basis of a historical approach to literature
and
culture. The method treats folkloric works as imprinting the spirit o f
the
people in different periods of its historical life. Researchers
are interested in the links
of
an artistic work with
civilization, its spiritual and
material culture (in a broad sense), with a historical tradition and social environment. Thanks to this method, it is possible to study the evolution of the literary
process more deeply through the prism of the spiritual national.
When it comes to related Turkic peoples, we observe the law- governed pattern similarity of many historical figures, historical events, traditions, most notably
in the folk heritage. In this sense, the typological
method allows to carry out comparative
analysis of many folklore works,
having wide circulation among the Turkic peoples, indicating the
similarities and differences between them. The transmissions
of this
character from a “mythical” aspect
to the character
of the “hikaya” genre
involves of three phases:
1) Transformation from tautological monster to the seven-headed
cannibal;
2) From seven-headed hikaya – to “hikaya Kempіr”;
3) From “hikaya Kempіr” - to “mystan” (crone-witch).
On
the first stage
the function of this
monster
was limited to devouring only (“hikaya”) and served as the explanation of such natural
phenomena as
sun and moon eclipse.
3.
RESULTS
In the Turkic peoples hikaya generally
acts as fairy-tale character.
But as a specific demonological
hikaya refers to the character of hikaya
genre. Since people
do not believe in the seven headed
images of
this
character,
they
believe that she eats
people,
dangerous,
she can
pass
from the human realm into
the demons’ world and she is a connoisseur of all the features
of both worlds. The “hikaya” genre was considered as an
analogue of demonology stories in Russian literature in the folklore study
science of the former Soviet Turkic people, the symptoms of this genre
were determined while comparing the “bylichka” genre. N.E. Onchukov (Onchukov, 2004) gives the following description of demonology stories:
“... Availability of short stories from the
miracle world is wonderful, mainly concerning
different beliefs in evil world, indifferent to people spirits, devils, goblins, water-sprites and etc. The narrator tells us about them as
true stories. All these stories are about local life, acting people are narrators
… or they had heard events from their relatives
and
countrymen…” (Onchukov, 2004).
Kh. Dosmukhamedulı considers this genre in the framework
of the Kazakh national literature “fairy
(demonology) stories” separately from legends and fairy tales:
“Fairy
(demonology) stories are
like
Baksy (shaman), Devil,
Albastı,
Dark fairies, Demons, Spirits, Zhalmaus Kempir, Zhestyrnak (metal nail) and others (Braginsky, 1990). These stories tell us about the birth of mythical characters,
their benefit and harm to humans, their ways to protect themselves from their influence”. S. Kaskabasov, who researched folk
prose of Kazakh, defines the genre as follows: “Hikaya
represent
stories
based on believed by people different Zhestyrnak,
Ubbe, Albastı, Kuldirgish (comic), One-eyed giant, Devil, fairies, dïyu stories, religious beliefs"
(Kaskabasov, 1984). So, both N.E.Onchukov
and
S. Kaskabasov define that this genre as a sign of “trust, realistic stories” (Braginsky,
1990, Onchukov, 2004). I.V. Pomerantseva (Warner, 2002) defines this story as the dominant form of the function you
want to say, to be implemented
in the form of true faith. “Hikaya” genre label states that: “Mainly, this “inner” formed superstitious bylichki, i.e. its meaning, function, seriously tells about the meeting with representatives
of
astral world, unlike magic fairy-tales full of fantasy, or
life jokes, jokingly describing devil as a trixter, their proximity to myth or vice versa,
mythological character distance from its initial base ". Russian equivalent of “hikaya” “bylichki”
can
be defined as “the incredible
true
stories about
events”. As can be seen the “hikaya” genre shows that the conflict in accordance with the
nature
of the
genre
cannot confidently assure coverage of the event. This hikaya is determined by the dynamics of the
two-sided conflict. The conflict can be seen from T.V. Gusarev’s
definition: “The genre “Bylichka” of folk prose, spoken short stories,
where reality closely
intertwined with fantasy, fact and fiction united as a whole, creating quite real picture or life
situation” (Warner, 2002). Reality and fiction are different things. In fact, the opposite orientation with the concepts
in this hikaya is represented by the emergence
of deep memorat taken in the context of the knowledge in the country. However, fantasy is only
the opening word in the context
of the value of people's consciousness and can recognize “hikaya” meaning. There are a lot of images of the hikaya that seem fantastic, but they have been with people
for centuries, expressing that their nature is real to people, but they do not
belong
to this world, that they are outside of the people world and are representatives of the other world. This is
recognized
by the
representatives of human nature,
but they were unacceptable to the human
personality, in order to show these alien fantastic images that were used. Fantastic mythical elements in “hikayas”
should be understood as some fragments of mythical consciousness, relation with nature. The “hikaya” characters are representatives
of the back world, but determined by the
nature of the world. Namely, reverse world characters
are
different from
people. For example,
if people have two eyes, the reverse world representatives have only one eye, if the person’s heel behind, they are in the front and they eat what human do not eat, etc. As “hikaya” character the human is both a unifier and a separator in the world. On the base of mythical consciousness
the
person defines the limit that fantasy in this
world is the reality
in another and vice versa. This is like a form of recognition of the coexistence of the world. In the mind of human, out of
human consciousness things refer to another world, for example, the size of the underground world of the dead eternal life, a sense of UFO phenomena of the universe, spaces where human beings cannot live, etc.
In other words, according to the established rules
of
law, two worlds must
exist in touch with each other. And reported in “hikaya”
incidents,
meetings mean events that contradict to the legislation. “Hikaya” reveals
he
influence of meetings on human life, not breaking
the law of another
world, played the role of an instructor to save the people’s lives. So, fiction is when you think and realize that the world related to the design
of the course of meeting.
Therefore, the person perceives the result of a meeting through the context of human feeling.
Specifics of demonology
stories can be recognized by its name. Turkic folklore researchers still have different opinion about the name of this genre. In Russian folklore the word “bylichka” is the reduced form of
“true story”. Reduced form do not show undoubted relation, but the duality
of this truth, and to believe “bylichka” must choose the audience,
and
“hikaya” truth became narrow
in human world view. E. Tursynov
corresponds the term “bylichka” of Russian folklore to
a
“life story”
content and suggested to name demonology stories “fiction”. On this
basis,
Uighur folklore
researcher M. Alieva
(1969)
uses
the
term “bolmish” and bases as follows: “In telling such stories
the narrator frequently uses affix “mish”, which gives some probability, uncertainty; reality of the told story doubtful, here is the gist of the folklore genre. That is why, in our view, the content of genre clearly reflected in the term “bolmish” (Kamalov,
2006). This explanation is the main
feature of
hikaya,
contradicts to the
undoubtedly speaking condition. Bashkir
folklore researcher Adina says that she used terms such as “mythology
hikaya”, “ıshanuzar” (superstitions) and chose the name “khorafiti hikaya” in her research works (De Zavala, 1996). According to the Tatar folklore
traditions, this genre is considered in the context of myth genre. Tatar
scientists considered demonology stories "as low mythological characters" and did not divide it as a separate
genre. He thought that these mythical
creatures
were gods that lost their status. Altai people
legend writer researchers refer the “hikaya” texts to “myth”. As for K.V.Yadanova, she considers hikaya story in the verbal and “legend” context (2013).
Hence, it is no doubt the “hikaya” genre stories content started
from “myth”. Turkic myth has lost world view status and religious
belief, most materials were included into “legend”, “fairy tale” and transformed
into intermediate form. There are several reasons that “hikaya” genre was
distributed in changeable, amorphous form: firstly, its origin, namely, character genesis kept myth nature. Secondly,
in Turkic folklore studies
“hikaya” got an intermediate form because of not being considered
as separate genre for a long time. S. Kaskabasov (Kaskabasov, 1984) says he
separated the “hikaya” genre from fairy tale groups so that the material was adapted
to fairy-tales, experienced the process of accepting tale signs.
Depending on the nature of folklore
material on the basis of all the host
of this process, and then in the distribution side
and "fairy tale",
or "myth" of
the syncretic review “hikaya” genre signs became dim. Also, it is stated in
the
form of texts memorat “hikayas” are continuing. The most important
thing is that the stories are in “hikaya” genre, because it depends
on narrator
and
listener position, consciousness, and other characteristics. So,
narrator must be sure that “hikaya”
event was received by the listener and he believed in it. That is a “hikaya” directly related to the confirmation of the existence of the form. If the narrator
of
“hikaya” has little doubt in the distribution
of the genre there is a sense that there are likely to result in a transformation
of
the material. We notice, that confidence between the narrator
and
listener and belief is the main core of the “hikaya” genre. However,
it should be taken into account that the content of the faith is a very special fact. As it is seems blind faith this phenomena
is connected
with mythical
sense. This belief in the magical world, on the basis of the recognition of the nature of the creation of man by the fear and hopelessness
born
in the amplitude of communication, including all kinds of feelings, life is a set of principles
that appear to recognize the nature of the world. The “hikaya” lives on the basis of this faith.
4.
DISCUSSION
The comparison of purposes of the character, what is composing the basis of hikayas
(folklore genre which funds a fact or a true story) as well as their consonance with folk beliefs limits the basis task of the article. The “hikaya” genre is a proof that mythical consciousness will
never be separated
from a human society.
It
is suggested to divide the following for tales:
1. Mythological stories and anecdotes;
2. Fairy tales;
3. Biographies and stories;
4. Anecdotes of pure animals;
5. Stories related to the creation and creation of things;
6. Tricky tales and stories;
7. Anecdotes.
“Myth” and “hikaya”
as the expression of the people's faith and beliefs are related to each other. However,
in a
certain stage of development of the society, as a result of the new religion trust to “myth”
will fall apart, the “myth” time is limited.
But even
if the religious faith changes, the “hikaya” as a special process of human world view, it is seen and reflected in the form of superstitions and rituals. Even appearing of the
“hikaya” genre is related to
these archaic
religious beliefs
which adapted to certain time. “Hikaya” is specific information reached from
ancestors to confirm certain reality of the nature, mythical consciousness as the encrypted
code
that will lead to the credibility of the content.
Scientists Şh. Ibırayev, who researched ancient channels of epic
says about the relationship of “myth” and “epic”: “It (epic) made a tradition
of myths to convince the truth, but the concepts of belief began to disappear
gradually transferred to the new reality of the era. Something that a vote
of no confidence,
there was a mythical era to replace the reality of the heroic era” (Ibrayeva, et al., 2013). Based on this conclusion, we could say, “hikaya” accepted faith tradition of “myths”, but it differs from other genres, transforming belief, faith concepts, it is adapted to store them in the course of trying to breathe life into the new standards of the ancient
treasures. If the “epic” in accordance with its specific genre aimed to
change the replacement
of the mythical truth, the “hikaya” genre tried to preserve ancient people faith with sacral meaning. The “hikaya” genre
has
become a part of people's mentality
to reveal the contents of the superstitions and rituals. “Myth” is the etiological interpretation of the
nature phenomena, “hikaya” performs the function to preserve this interpretation
of this gesture, symbol, and allegory. For example, in “Yelekul” (Lake, which has owner) of the Bashkir hikaya, the people wanted to catch Aquatic (Water fairy) by deceiving that one boot should be worn, but in vain. As
a result, angry Aquatic (Water
fairy) left the lake, then the lake will dry out. This story warns people, one must not make trick
about human - nature connection situations, even if it seems to be a
naive child, Water fairy power of water was great and it helps to reveal the
myth meaning related to water gods. Water fairies do not exclude the
status of sacral nature value, people
who did not believe lost the lake. Anger and grief of the Water fairy were in the form of natural disasters
and
local people were punished.
There is no content of teaching in this hikaya, but the disrespect to the owner of the lake, the result of a lack of belief
in the power of Aquatic (Water fairy) led to a natural disaster. Each,
the
owner of the lake, and people can make their life on the basis of respect to each other, but the person cannot interfere in Aquatic’s (Water fairy’s) life, cannot be in agreement with him, because he is a part of the
same settlement, even if it has lower status than God. Described in the hikaya the lake and its owner are survivals
of
the myth. As we told we
should not separate the lake and its owner, there was a doubt about myth
character, the lake has disappeared. In other words, faith designates being.
Here
faith is determined by the respect to ancestor’s
belief and people’s
world view. So, the “hikaya” is adapted to the era, continuation of myth conscience, the form of people belief.
Ancestors of Aquatic (Water fairy), lake owner or Ubbe from the hikaya characters were Greek Poseidon or Rome Neptun and Turkic
water God. The story “Amankul from the Ubbe city” was transformed to fairy- tale,
here Ubbe was described
as a
Water King and had top status. But in
one hikaya which
begins with lines “One Kazakh went to the river bank”, Ubbe was limited only by the function of death. In this hikaya Ubbe lost his status as a God, and was only
a protector of his territory. However,
he is still god in people’s
faith, if anyone does not believe in his sorceries force and he might bring
threat, he dies. In alike hikaya “Zor
Teke” Ubbe
is not a Aquatic (Water fairy), but his name was
mentioned several times.
It is seen from the story that Ubbe and Zor Teke came to an agreement. Events in this stories show relationship
between human and water, and nature forceIf a
person does not live in harmony with this environment, as
a representative of this world he will pass away.
So,
in three texts Aquatic (Water
fairy) predicates are different. Water tsar- death staff- water owner that
has an agreement with a human. It is known from myth
era, water tsar
according to his top status had different workers, and they performed various functions.
For
example, the Tatars had characters such as, water dad, his wife, water mom, children,
water owner, and water fairies. Water
inhabitants had hierarchy. Later, these characters became less, instead
other faith personages
spread there. As a result, functions shrunk and joined main personage predicate.
That is why water tsar, described in the hikaya, performs functions of a water owner, protector and killer.
“Myth” is about top mythical personages, their heroic activities, as for “hikaya”, it is low mythical characters. Nevertheless,
is it
possible to show exactly these characters top or low when myth consciousness
was
perceived as
first cognitive form?
When
myths related to
top
mythological personage, they have not changed much and transformed, they become legend. As Sh. Ualikhanov
stated, spreading of Moslem in
Turkic land is closely connected with faith, belief concepts, so God turned into Allah, shamans
into fairies, changing names joined Islam. But on the
base
of new belief, top mythological personages, characters, gods became
dangerous,
harmful ones (Fediuk, 2016). Human being according to his
nature, necessity, consciousness tries
to keep gods, (draw their picture, shape form, etc) and have everyday relationship. In comparison with top gods, low level gods who actively participate in human life closely connected with people. Top god or gods
as stated M. Eliade, lost religious activeness and
turned into
"relaxing"
god. As
far as they have little influence, new religious belief made "relaxing" god its ally and tried to
limit activity of acting gods. Restriction
of
God’s influence means to weaken it, by making it harmful deprive him from
status, made it come down a sky. So, if “myth” personages
are
texts telling about top world gods, “hikaya” personages are texts which give information about under earth gods. When
the
degree of old belief
gods gets lower, as low mythological
characters
they
turn into
“hikaya”
personages.
Tatar scientists
name old religious characters like “Hobgoblin”, “Water
owner”,
“Albasty”,
“Ubir”,
“Shurale” as mythological
story personages and
suggests to consider them in mythological texts. Similar characters are
met in Bashkurt, Turkmen, Kirghiz, Karakalpak,
Chuvash and other Turkic
language people
folklore. If we
see genesis of demonological
characters, they are defined as gods which created animistic belief and they have ixtonic character. These personages
deeply penetrated into
human world view, it was impossible to eliminate them. Therefore, the first step to fight with them is
to deprive god status, and the second step
is to
pay attention to their negative, dangerous nature by refuting
old
faith gods. Therefore, gods with ixtonic nature turned into low level
mythological characters and
linked
up to concepts like,
death, harm,
danger, enemy, evil
and etc.
Old belief
gods
as
top mythological characters never communicated with human, if they communicated
indirectly, its predicate was just recognition.
Human being had status to communicate
directly when these gods transformed into low level
mythological personages. Relatively to them human status became upper, relations like "recognition", "confession" changed into "acquaintance, struggle, competition, fight". Nevertheless,
every time these personages
wanted to be close to a person, but the person remembered how dangerous
they were and it stayed forever in the “hikaya” genre. It is certain
that to determine human fear and genesis,
to win or lose them will facilitate of “hikaya” genre variation.
Referring to this genre text personages,
as demonological
characters give an opportunity to determine human directions in perceiving, apprehend these personages. Stories about demonological
personages do not only describe human nature relation, but also give
some information concerning external
factors to form
world
view. While
determining “hikaya” personage genesis, it enables to know
ways of
human perception of metaphysical phenomena.
There are different opinions about background
and
origin of the “hikaya” personages. Kh. Dosmukhameduly
and
S. Kaskabasov
(Kaskabasov, 1984) give several interpretation of the “hikaya”. This list can be considered as follows:
First – mythical characters: Zhalmaus kempir (Witch), Albasty, Zheztyrnak, Ubbe, Kuldirgish, Zhalgyzkozdidau, Bisura, Obyr,
different owners, etc.
Second – characters related to religious belief: Peri, Zhyn, Aruak
(spirit), Shaitan, Diu, etc.
Third - special people who communicate
with astral, reverse world, etc.
There is saying about origin of low level mythological personages:
As for, origin of demonological
characters, they are connected with bible myth about falling angels: they were thrown from
the sky, one fell into
water, others to wood and field and turned into spirit and became low
level spirits: home and natural. The story that devil was banished from
heaven and
turned
into cursed
character
corresponds to that
opinion.
However
in Turkic people folklore shaitan (devil) appeared with Islam
religion, performed some xtonic characters
and
became like them. It was marked that other harmful, dangerous creatures were closely connected
with under earth world. According
to the Turkic people mythology
the
space consists of three worlds. Umai gods in the top world, Water, Earth gods in the middle world, Erlik
who was enemy of the top world ruled the low world. So,
the
fact that xtonic personages did harm to human could be
explained by their genesis. According to N.N. Kharuzin, the origin of
demonological characters in the Russian people folklore is closely connected with peasant living standard: chopping off dense forest in
order to have pasture, doing harm to rivers, draining marsh, all these activities
were against nature. These demonological characters showed resistance of
nature forces, disasters,
tried to contact with people and live nearby, there appeared lots of them and they became one of world view form and part
of
a faith (Macfadyen, 2004).
5. CONCLUSIONS
The most important categories
are
based on the heroes, theme and
subject, refrain, leitmotif and events. Turkish classical writers have often
categorized stories in a thematic way and brigades, and contemporary
Iranian scholars have preferred to study stories with their content
and
themes. The folk Romance form hikaye is an extended verbal narrative which
blends prose narrative
(the main element) and folk song,
interspersed here and there in the romance. A Hikaye performance may last
two to five consecutive evenings, depending upon the time allotted for
the
performance, the audience, the place and, of course, the mood of the
performer. This is in contrast
with the epic form, which is named only with the name of the hero. Indeed, the names like, “Ormaniesi”
(Forest
owner), “Su iesi” (Water owner), “Uiiesi” (House owner) show that they
functioned.
Peasant having entered other people’s territory or living in neighborhood with them experienced
awful, strange, dangerous
phenomena, tried to find their sources and reasons. Corresponding
to his own psychology, the peasant believed in those things, that there was an
owner, he searched the ways how to adapt to this condition.
In the course
of search, he found there were many “owners”.
However,
if this character
genesis was connected with agriculture,
there should be difference in
demonological personages of nomads and Turkic people. These varieties were in names and functions, personages in stories of Turkic people were
the same. The stated
differences appeared
later
by Islam influence,
because monotheism
was
to eliminate other gods and it changed archaic
names of demonological
personages to terminological names based on
Islam. For example, predicates such as “zikiretu”, “zhinshakyru” used by shamans
were
taken
from
Moslem dictionary. Limitation of
demonological functions, joining two or more character functions, is the
result of the fact that they were taken away from thoughts
and knowledge
because of Islam religion dominance.
So, here mythical characters
are
transformed into hikaya
personages; it forms the basis of Turkic world view, that is, the form of
life
knowledge. While defining hikaya – myth, hikaya – legend, hikaya –
apsana, hikaya – story relationships, we see peculiarities
of
the “hikaya” genre. Classifying these features of the “hikaya” genre, we see it was
formed to characterize human methods of struggle with those creatures and above mentioned phenomena. Natural phenomena was indicated by
xtonic
personages. Furthermore, “hikaya”
is external nature and
description
of
human inner fear. One of the ways to preserve human
psychology is to force out fear in the way of “hikaya”,
the“hikaya”
genre, eternal genre. But we should take into account according to folklore rules it experiences transformation.
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