ONTOLOGICAL, AXIOLOGICAL AND SOCIO-ETHNIC SPECIFICITY THE UNEXPLORED KYRGYZ EPIC GULGAАKY

The main purpose of the academic analysis of the Kyrgyz epic Gulgaaky is to clarify its ontological, axiological, socio-ethnic and ethical-aesthetic value from the point of view of the tragedy of love as a symbol calling for the rapprochement of the militant peoples – the Kyrgyz and Kalmyks.

The relevance of the topic lies in the fact that to this day the epic Gulgaaky remains one of the unexplored works of the Kyrgyz people, despite its great artistic-aesthetic, social, philosophical and epic-symbolic wealth. It (wealth) actualizes the catharsis of love, the source of which is the tragic story of personal relations between the Kyrgyz hero Gulzhigit and the Kalmyk ruler Gulgaaky. From our point of view, this work has a great expressive and emotional advantage even over the Kyrgyz epic Manas, when it comes to the amazing lyricism of the language, the subtle transfer of deep feelings, the romanticism of the inner world of the main characters, the presence of a variety of artistic means and techniques.

In the process of the academic analysis, hermeneutic, logical and analytical methods of research were used, allowing to reveal the essence of the main idea of the epic associated with its socio-philosophical, artistic, spiritual and empirical specificity.

Our research led to the following results. In the philosophical context, the fundamental unity of the living and the inanimate world in the epic is the nature with which man is fused (the nomadic cult of Tenir), and obeys the will of fatum (dependence on it), whose soul after death continues to live in the imaginary world. Therefore, the ontological basis of the epic is connected with the identity of the laws of nature and human morality, for evil receives its punishment. The axiology of the epic is based on the theme of love and death of the heroes, which determines its tragedy and is carried out according to the scheme: acquaintance-rapprochement-fusion-self-sacrifice-transformation. Hence, the category of the tragic becomes a martyr (physical suffering of the characters), suicidal (suicide of the heroine) and fatal (fate scenario) phenomenon. In the social context, the novelty of the epic is that love acts as a factor in the fusion of physical and spiritual (between the main characters) without performing ritual (religious) rites. In our opinion, one of the reasons for this approach is the original understanding of reality, which allows through a symbol of love that knows no boundaries, to make an attempt to bring together two warring people – the Kyrgyz and Kalmyks.

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