Korogly biography

Ker-ogls also Ker-oglu, Her-Ogls, Kur-Ogly or Koroglu-a folklore-epic monument, which has developed by the 17th century, and gained widespread in the Middle East and Central Asia, the versions of which can be divided into two or three groups: Western Armenian, Georgian, Kurdish, Azerbaijani, Turkish. Versions dating back to the Azerbaijani epic "Kur-Ogly". East Turkmen "Gur-Ogls", Uzbek and Kazakh "Gore-Ogli".

The Tajik epos "Gur-Ugli" or "Gur-Guli", which is a number of researchers to the Eastern Turkestan group of versions, contains, however, memories of the fight against the Kyzylbash sect in the Caucasus. Translated from the Turkic "Cor-oglu" means "son of a blind man." Mountains can also be translated as "a son born from a grave." His mother, according to the eastern version, was buried in the pregnant woman, but the child was born and survived, so he was called the mountain oglu.

According to A., based on the Azerbaijani version of the epic in the year, the Azerbaijani composer Uzeir Gadzhibekov wrote the opera Kur-Ogly. In the year in the capital of Azerbaijan - the city of Baku - a monument of Kur -Ogly sculptor - Tokai Mamedov was erected. The name of Kur-Ogly is named the Baku metro station. The plot of Hasan Khan blinds his groom Ala-Chisha for led the inconspicuous horses to him.

However, these horses Gyr-At and Dur-Ata possessed magical power, since their parents were magic sea horses. Ala has the son of Rovshan, who, because of the blindness of his father, was nicknamed Korogly Kur - blind, oglu, - son, - literally: the son of a blind man. They, together with their father, go to the mountains and justify in the town of Chenlibe. Korogly decides to take revenge on Hasan Khan.

Soon, more and more people who are dissatisfied with local rulers join Kerogly.

Subsequently, the personal revenge of Korogly grows up in the popular struggle against the unfair rulers of the region. From here, all the adventures of Koroglya Western versions begin to contain many biographical and household details that indicate that epic legends have not yet become a heroic epic. In many Western versions of Kur-Ogly, it looks like a “noble robber”. In all Western versions, the hero is a people's avenger and a poet-improviser, whose purpose of life is the rampage of a tyrant, blinding his father from here the name of the hero-the son of a blind man.

Western versions consist of separate prosaic stories about the exploits of Kur-oglu in combination with poetic inserts-epic and lyrical songs. The authorship of these songs is attributed to the hero himself. The Armenian version of the epic is less accurate in historical and geographical children, but especially rich in content. This version contains interesting folklore elements.

In the Ottoman version, the country of Korogly is called "Forest Saganla", and the capital-"Kerogly-Kalasi". In Anatolia and in the Balkans, the Turkish version has the shape of a small story. Her hero is a fugitive fighting with the local feudal lord, he takes revenge on his personal resentment. The eastern versions to rule in the Kyrgyz epos the plots of Korogly and Gorguli are present in epics about the heroes of Manas and Alpamysh.

But, unlike the Kyrgyz, other Turkic ethnic groups, which have a legend about Ker-Oglu, the Alpamy character is associated exclusively with the plot of the Odyssey "Husband at the wedding of his wife." In Turkmen culture, there are also legends about gorogla. In the Turkmen version, his name is translated as the son of a grave and has some differences from other versions.

The epos of Gorogly is the national treasure of Turkmenistan. Gorogles are depicted on Turkmen manat, as well as in honor of the Gorogly, many monuments in the capital of Turkmenistan are erected. The Kazakh musician-kushi Daulet-Korey created a cuy on the dombra-“Kerogli”. The Uzbek and Kazakh versions are largely part, and the Tajik version is completely written in poems.

In Tajik legends, the hero is known as the Gorguli “Son of the Grave”, a native of the mythical country of the righteous Chambuli-Maston “Happy Chambuli”, conducting the struggle with the Kyzylbashi. The Tajik version has many archaic mythological features lost in the Azerbaijani version, which has undergone significant historization in connection with the layering of the events of the 17th century.

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