THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
M. Zholdasbekov, Doctor of Philology, Professor, Gumilyov Eurasian National University, Department of Turkology, Nur-Sultan, Kazakhstan [email protected]
M. Zholdasbekov: THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata) -- Palarch’s Journal Of Archaeology Of Egypt/Egyptology 17(6). ISSN 1567-214x Keywords: Orkhon, Korkyt Ata book, Written monuments, Turkic language, History.
ABSTRACT This academic work deliberate upon the modernization of the Kazakh language, with special reference to the global perspective and the linguistic characteristics of the ancient Turkic peoples, by comparing and substantiating the master versions of the monuments of Orkhon (Bilge, Tonykok, Kultegin), the "Book of Korkyt Ata" and the exploration of scientists of the contemporary era. Although the literary translation of a written monument conveys its contents, story, ideas but it doesn’t divulge rich linguistic material as much as the original. So, the transcription of any written artifact involves the formation of language, stages of development, ancient grammar and language resources, etc. because all these parameters are significant in the research point of view. To the present day, the Kazakh versions of the "Book of Korkyt Ata" have been, as mentioned above, translated through free translation and such translations should not be the basis for linguistic research. The fact that «The Book of Korkyt Ata» has not yet been decrypted and published in Kazakhstan and it shows that rich linguistic data and material both profoundly ingrained in the historical depths of our Kazakh language which still need to be grasped. With the reference it can be said that although the issue of literary translation has been largely solved, but the question of scientific translation is still unresolved. For example, scientific translation does not endure excessive autonomy, deviations from the original but indeed it requires precision and deftness so the present academic work mainly deliberate on these factors as much as possible.
13187 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
Introduction The spiritual culture of the Turkic peoples, inhabiting the immense expanses of Eurasia since the “Creation of Tengri in the sky, Water and Earth below", is one of the significant parts of the world civilization. It is said that if a person has a wide field, he has a wide horizon with this there are also several proverbs such as "Your son is in Urum, your daughter is in Crimea", "Your destination is the Balkan mountain, it is also our mountain" were innate in the days of the ancient Turkic khanate, and it shows the extent of their conceptual dimension. The sacred evidence of this opinion is "Kultegin", "Tonykok", "Bilge Kagan", "Tariat", "Bronze Shor", "MoiynShor", "Talas”, "Issyk", "Irtysh" “Monuments of "Ili", "IrygBitig", "Korkyt Ata", "Ogyznama" and "KuttyBilik" by Balasagun, "Turkic Dictionary" of Kashgar, and "DiwaniHikmet" by Yassaui. Based on these artifacts, it is said that the foundation of the Turkic written literature was laid in the VII-VIII centuries. Because this sacred heritage is not only a spiritual treasure of the Turkic people, but also a cultural monument common to all mankind and the contribution of the Turkic peoples to world civilization. Earlier in our monograph "AsylArnalar" [1] we made a detailed analysis of the historical, traditional, thematic, oratory, genre, rhythm, generation, equality, allegorical, comparative, proverbial connections between the Orkhon inscriptions and ancient Kazakh literature. M.Auezov and A.Margulan were at the forefront of the study of ancient Turkic writings in Kazakhstan, the school was formed in the early sixties under the leadership of our late teacher B.Kenzhebayev. Beiseken was the first Kazakh writer to draw my attention to this ancient myth. Thus, in 1967, I began to study the Turkic written monuments and their Kazakhization. In the course of research, these inscriptions are an invaluable heritage of the Turkic people. We realized that its language is very close to modern Kazakh. The monuments were made mainly by tribes and the Kazakh people were also the part in this. W. Bartold, V. Radlov, and S. Malov wrote extensively about the timing to determine the exact language of these monuments, which made a great change in oriental studies. P. Melioransky said: "The language that kept the language of the ancient Turks fresh, is the modern Kazakh language" [2], emphasizing that the language of the inscriptions is more similar to the modern Kazakh language. Book of Korkyt Ata is also one of the examples of the above statement. Since the culture, language, and literature of the ancient Turkic peoples have been preserved as a legacy of the Kazakh people, we have concluded that these inscriptions are not merely "translations" but "Modernization of the modern Kazakh language". The first data on the Orkhon monuments
13188 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
... At the beginning of the XVIII century, the captured Swedish officer Philip Johann Stralenberg, who was captured by the Russian army, found the monuments of Orkhon. In the first quarter of the 19th century, Grigory Spassky published some information in his journal "Siberian Herald" [3]. His article was soon translated into Latin, and the Orkhon monuments became known to other scholars from several countries. Upon hearing this news, the Finnish Archaeological Society sent two expeditions to Minusinsk in 1875, and in 1889 published an atlas with 32 tables and 8 photographs entitled "Yenisei inscriptions". It should be noted that until the discovery of the alphabet, these heritages were recognized by Finnish scholars as monuments of their people. However, they later acknowledged that this view was speculative. In 1889, the Russian explorer N. Yadrintsev saw a four-walled high rock along the Orkhon River, at the mouth of the Yenisei River. Soon N. Yadrintsev at the VIII Congress of Russian Archaeologists drew the attention of scientists to the ancient heritage of the Orkhon. So, the inscriptions which is formerly known only as Yenisei monuments, now called Orkhon, or Orkhon-Yenisei inscriptions [4]. In the spring of 1890, the Finnish archeological expedition to the Orkhon River, led by A. Heikel, published a work entitled "Inscriptions of the Orkhon Valley" in 1891. [5] And in 1891 he left St. Petersburg for an expedition of the Academy of Sciences under the leadership of the Russian scientist V. Radlov (including Yadrintsev), the founder of Turkology in the country. He has a difficult and responsible task - to read the secret of writing. Of course, in addition to the difficulty of reading these writings, there were some advantages as well. Because at that time the text of the monument was written in Chinese, and the names of the people who made the monument and the beys who ruled it were known from that text. However, solving the mystery of the silent monument, which has not yet revealed any secrets, could only be done by a well-trained linguist. One such researcher was Wilhelm Thomsen, a Danish scientist and professor of comparative linguistics at the University of Copenhagen. After a historical work on the relationship between Early Russia and Scandinavia, published in 1877, Thomsen turned his attention to the study of the Orkhon- Yenisei monuments found in southern Siberia. Finally, in 1893, he found the "key" to the Orkhon inscription. In modern times, Thomsen's discovery can be considered not only as a key to the Orkhon inscriptions, but also as a precious key to the secrets of the ancient inscriptions found in the history of Central Asia and Kazakhstan. Using the alphabet discovered by Wilhelm Thomsen, academician V. Radlov first translated the monument into Russian in 1894 and gave a version of the text in the Latin alphabet. W. Thomsen published his translation only in 1895. This monument was translated and published by academician S. Malov [7]. Since then, the study of the Orkhon monuments has never stopped. Kazakh linguists have also done a lot to study these monuments as a historical and linguistic heritage of our people. Among
13189 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
them are the works of Altai Amanzholov, Gainutdin Musabayev, Gubaidulla Aidarov [8]. In short, their study and research are the state of discovery of Orkhon monuments. Translation of Orkhon monuments There are two types of translations of Orkhon monuments published in Russian. The first is a semantic translation in the form of obscenities, this was confirmed by V.V. Radlov, translated by Melioransky, SE Malov, and the second translation of Stebleva's poem [9]. A comparative study of the works of these scientists led to identify the errors in them, including the transcription and Kazakh version of the inscriptions Bilge, Kultegin, Tonykok, and in 2005 published a work entitled "Complete Atlas of Orkhon Monuments" [10]. Academician S. Malov's translation was much more advanced than his predecessors, both in terms of accuracy and scientific validity. However, the translation of S. Malov, an expert in Turkic languages, still has some room for improvement. What we are talking about mainly leads to the following issues: For example, the word "Teηri" in the sentence "Üze kök Teηri, asra jaγyz Jer»" [10, p. 190] Thomsen [11, p. 97], W.W. Radlov [12, 16], S.E. Malov [7, 36] translated it as "blue sky". Ideally, the word "Tengri" (creator), which expresses the worldview and beliefs of the ancient Turks. "Uda" [10, p. 188] - the words of V.V.From Radlov to S.E. Pre-Malov scholars translated it as "while asleep" [7, 41]. We don't think so. The word "uda" here means "heel chase". "Oplajutegdi" [10, 36] The word "Oplaju" in the ancient Turkic lexicon has been misunderstood by scholars and translated with the general meaning of the sentence. See: S.E. Malovta "threw in the attack" [7, 41].Oplaju –crush. "Oplajutegdi" should be translated as "Crushed the enemy". The phrase "Erürbarur" [10, 189] was coined by S.E. Malov translated it as "the pursuit of freedom and independence" [7, 41]. It does not correspond to the general meaning of the sentence. We translated this phrase as "followed, left". It is said that sometimes followed, sometimes left, sometimes worried and fought. The sentence “Teηri Jir bulγqyn üšün jaγy bolty” [10, p. 189] was written by S.E. Malov read: "... as the heavens and the earth came in darkness, he became our enemy" [7, 42]. There is no reason to do so. If we look at the ancient Turkic worldview, we do not understand anything from this translation. Why the heavens and the earth are shaken. Why do they struggle? Meanwhile, Teηri is simply a blue sky, and Jir is a simple black earth. Not at all. Here "Teηri" is the one God who created the world, the Almighty God. And the earth is Mother Umai. From this point of view, it is better to say, "God and the earth have become enemies to us." "Teηritegteηride bolmys" - from the Divine God [10, 190]; “Teηritegteηride jaratmys" - the sentences created by God of the genus Tengri [10, 256] were written by V.V. Radlov “Similar to Heaven (as it were) from the being of Heaven (God) stood out” [13, p. 37], S.E.Malov
13190 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
called it "Heaven-born" [7, 33], and some equated the phrase "teηriteg" with "like a god" and Bilge kagan as a god. It is not a matter of comparing Kultegin to the sky. With this ethnopsychology in mind, we translate it as "the origin of God, created by God." In “The nomads of Central Asia” the preaching that the khan's lineage was created from light dates back to ancient times written in Rashid-ad-Din's Jamig-at-Tawarikh, The Secret Chronicle of the Mongols, and The Turkmen Chronicle of Abul-Ghazi Bahadur. "Light" was sent by God. Ata-Malik Juwayni said that the Earth was "from God" and "created by God" instead of the light sent by God. In our opinion, the main goal of these scientists is to convey the content and meaning of the monument. That is why the verses in it are completely ignored. Let's look at the following lines: In the case of a man's son, we would not be able to satisfy my mother's desire [10, p. 186]. The underlined phrase (the word ancestor) was misinterpreted by the scientist as my brother [7, 33]. In 1965 Researcher of the Institute of Asia and Africa in Moscow [9]. Orkhon considered the monuments as a whole literary work and considered them as poems. We have already seen works that attribute this heritage to the model of poetry. However, no study is as convincing as Stebleva's. As for Stebleva's translation. While all former translators made only semantic translations of the monument in the form of prose, I. Stebleva recorded it in verse and for the first time translated the poem into Russian. For this reason, it can be said that the style of the monument is preserved to some extent. Then, taking into account the shortcomings of the previous versions, the scientist found the exact equivalent of many individual words. However, I. Stebleva's translation also has a lot of missing points. For example, in the sentence “andaičrekibodunquu [p] ma [kür] a kür [ür1” [10, 190], the equivalent of the underlined word (which is the word congregation, people, majority) is plural (many) [9]. is incorrect. We saw the same thing in S. Malov's translation. This is the situation with the translation of Orkhon monuments into Russian. So, in short, we are familiar with two different translations. One is a semantic translation in the form of obscenities. This includes translations by V. Radlov, P. Melioransky, S. Malov. The second is a translation of a poem by I. Stebleva. If we look closely, some lines of runic inscriptions not only give the content of the work, but also create verses. We have been translating the oldest example of the poem - the Orkhon monuments into the Kazakh language for some time. Kazakh poetry was not born in the time of Bukhara, Makhambet, and Abai. It was born in ancient times, gradually changed, and came to Abai with colorful paints and beautiful patterns. The great Abai got the food and furniture he needed for the poem from those folk patterns. As for now we translated the monuments and the principles followed by us lead us to identify two different goals. First of all, we aimed to convey the same example of ancient literature to today's students in the form of a whole work of art. After all, we consider the Orkhon monuments as a
13191 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
valuable heritage that has not yet lost its aesthetic nourishment and power. In this regard, we tried to fully preserve the artistic methods used by the ancient author. Secondly, except for one or two excerpts, given that the Orkhon monuments still do not have a complete scientific translation into Kazakh, we have tried to make our translation as accurate as possible to meet the requirements of scientific accuracy. Kazakhization of Orkhon works is both difficult and easy. The problem is that, as mentioned above, we have never had the experience of fully translating the ancient Turkic heritage into the Kazakh language. Here we can mention only the translation of G. Aidarov's Tonykok monument. It is also a prose (semantic) translation. The problem of literary translation has been largely solved in our country, and scientific translation is still not taken into account. For example, scientific translation does not want much freedom, deviation from the original; requires accuracy, precision. We tried to keep this in mind as much as possible at work. Then, first of all, we had to distinguish the verses in the ancient Turkic dialect and make a transcription of the Orkhon monuments in the form of poems. It is easy to say that before us there were several translations of these monuments into Russian, including the translation of poems. Therefore, in some cases it was possible to compare the monument with other versions. However, we did not follow the complete work, we came to the translation of the song mostly from the Kazakh language, the structure of the Kazakh poem. Therefore, our work will be very different from the Russian version. In particular, first of all, the translation of Orkhon poems into Kazakh should be considered as a partial translation, not as a pure translation as in Russian. By the way, there is no difference between the language of the ancient monument, the verses in it, and the modern Kazakh language, the verses in Kazakh. Poems such as "My red blood was shed, my black skin ran (white)" [10, 319] were taken unchanged. It should be noted that we have a lot of opportunities for translation from the Russian language. Therefore, we do not call our translation a literal translation of this word, but an innovation from the ancient form of a language to a developed, modern form of that language. In other words, we consider the language of these monuments as an ancient form of our native language. Secondly, in translating the Orkhon monuments, we aimed to preserve its spirit and style. In this regard, we tried not to change every line of writing, sleep, the number of syllables. Here is an example: Original: Translation: 1-example:Tün udymaty, I did not sleep at night, I küüntüz olurmaty [10, 319] did not sit [quietly] during the day.
2- example: Qanyη subča jügürti Your blood was white, Söηüküη taγča jatdy Your bones were lying on
13192 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
Beglik ury oγlyη quul the ground boldy Your son Beck became a Silik qyyz oγlyη küη boldy slave, [10, 187] Your daughter Silik was a slave. There are no differences in rhymes or words. This means that the Kazakh language comes from the ancient Turkic language.
Modernization of the "Book of Korkyt Ata" into the Kazakh language
"The Book of Korkyt Ata" is one of the common literary masterpieces of the Turkic peoples, as well as a book considered at the global level as a cultural heritage of mankind. This record, which is mainly a collection of heroic songs, contains two main versions in Dresden and Vatican, as well as the third - the Berlin version, which is a copy of the Dresden version. 1. Dresden version This version is a 153-page manuscript in Arabic letters, registered in the Royal Library of Dresden under No. 86 in the catalog of H. Fleischer. On the first page of the manuscript, the title of the work is "Kitabi- `DedemKorkudalalisanytaife-i oguzan" (Book of KorkytAtam in the language of the Oguz tribe). This version consists of 12 songs as follows: 1. Song of Bukash khan, son of Derse khan. 2. A song about the raid on the house of Salor Kazan. 3. A poem about Bamsy Beyrek, the son of Kam Bori. 4. A poem about the capture of Kazan Bek's son Oraz Bek. 5. A poem about Duka Khoja's son Deli Domrul. 6. A poem about Kanly Khozha's son Kan. 7. Poem about Yegenek, the son of Kazylyk Khoja. 8. A poem about Basat's murder of Tobekoz. 9. A poem about Begir's son Amiren. 10. A poem about Sekrek, the son of Khoja. 11. A song about the capture of Salor Kazan and his rescue by his son Oraz. 12. Enmity of the Inner Oguz to the Outer Oguz, a poem about the death of Beyrek.
13193 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
Each page of the Dresden manuscript consists of 13 lines. It is written without movement, except for some parts, which are mostly vowel sounds. Besides, the themes of the songs and the verses are not written separately. He wrote only the theme of each song in an extensive and broadway. The first to introduce the Dresden version to science was H.F. von Dietz. He published a poem about Tobekoz with a German translation and paid some attention to Korkyt Ata [14]. Ditz compares the Polyphemus in Tobekoz and Homer's Odyssey, noting that the poem in Korkyt Ata's book is larger, suggesting that the Greeks borrowed it from the East.
2. Vatican version
The 107-page collection, registered in the Vatican Library under number 102, consists of two sections. The first part of the collection, pages 2a ақтың 58a, entitled "Hikaye-i Latife-i Ujube ve Mahjube-i Zarife", contains stories translated from Persian into Turkish. The second part of the collection, between pages 58c-108a, contains the poems of Korkyt Ata under the title "Hikayet-i Ogyzname-i Kazan beg ve gairy" (Ogyznama stories of Kazan Bek and others). This version of the "Book of Korkyt Ata" consists of 6 songs. The manuscript does not have 106-107 pages. Like the Dresden version, this version has 13 lines on each page. It is a variant close to the old Ottoman language in terms of language features. Although the manuscript is smaller than the Dresden version, it is written from beginning to end. For this reason, researchers have used this version in reading and translating obscure, dubious lines in the Dresden version. Songs in the Vatican version: 1. (Derse) The story of the son of the khan Bukash khan. 2. The story of Bamsy Berik. 3. The story of the raid on the house of Salor Kazan. 4. The story of the capture of Oraz Khan, the son of Kazan Bek. 5. The story of Yegenek Bek, the son of a judge. 6. The story of Berik's death when the outer Oguz became an enemy of the inner Oguz.
As can be seen from the themes of the poems, the Vatican version contains mainly poems about Kazan. However, in contrast to the Dresden version, this version does not include "a poem about the capture of Salor Kazan and his rescue by his son Oraz". Ettore Rossi was the first to introduce the Vatican version to science. He first wrote a short article [15] (1950), and later wrote a comprehensive study of Korkyt Ata and published it together with the Vatican version [16] (1952).
13194 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
In the first part of his 364-page work ("Introduction"), E. Rossi describes the "Book of Korkyt Ata", its versions in Dresden, Berlin, and the Vatican, the legendary personality of Korkyt Ata, Zhyrau tradition, the geographical area described in the poem, customs, religious beliefs, etc. issues are discussed in more detail. In the second section, he translated six songs from the Vatican version, as well as six songs from the Dresden version that were not in the Vatican version. The third section contains a facsimile of the Vatican version, and the fourth section contains a Turkish-Italian dictionary of the Vatican version, etc. provided information. The small size of the Vatican, which has long been ignored by scientists, began to be studied intensively in the late twentieth century. 3. The Berlin version This version, numbered 203 in the catalog of the Royal Library of Berlin, prepared and published by Wilhelm Perth, is mainly a copy of the Dresden manuscript. It consists of 34 pages, 34 lines on each page. Researchers believe that GF Dietz must have copied this version from the Dresden version and handed it over to the Berlin Library. [17] Kilisli Ahmet Rifat's 1916 book "Kitab-y Dede Korkut ala lisan-i taife-i Oguzan" in the Arabic alphabet was based on this Berlin version. Kilisli Rifat's work is also the first in Turkey to be published in the Book of Korkyt Ata. As for the history of the study of the "Book of Korkyt Ata", along with the above-mentioned works of H.F. Ditz, E. Rossi, Kilisli Rifat, a lot of fundamental research has been done. W. Barthold wrote important research articles and works on the "Book of Korkyt Ata", which were not studied for a long time after GF Ditz [18]. Also, Russian scientists Tumansky, V. Zhirmunsky, A. Kononov, A.Yakubovsky conducted important research on the written monument [19]. In this regard, the research of HG Koroglu can be specially noted [20]. In 1938, Orhan Shaik Gokyai's book "Dede Korkut" was published in Turkey after the above-mentioned work of KilisliRifat in Arabic letters. [21] This is the first edition of Korkyt Ata's book to be published in Latin in Turkey. In this study, which compares the Berlin version with the Berlin and Dresden versions, Orhan Shaik Gokyai tried to cover his previous research in detail, as well as published two paintings of the Korkyt Ata mausoleum published in the Eastern Branch of the Russian Archaeological Society. Muharrem Ergin published the first book of his research work in 1958 and the second book in 1963, based on the Dresden version of the inscription. In the first Book, M. Ergin transcribed the Dresden version by comparing it with the Vatican version, pointing out the differences. He also published a facsimile of both versions at the end of the first Book. In the second book he gave a study of grammar and an index of words in the manuscript. This work is one of the main works on the textology of the "Book of Korkyt Ata". In 1973, O.Sh.Gokyay published his work "The Book of Dedem Korkudun" (The book of my grandfather Korkyt) [23] in this work which is more than a thousand pages, O.Sh.Gokyay corrected the Dresden version, referring to the Vatican version, as well as the history of the study of the inscription, its
13195 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
connection with historical events, spelling, linguistic features, literary motifs, customs, clothing, dishes, etc. Regarding the "Book of Korkyt Ata" in Azerbaijan in 1939 after Hamit Arasli's book "KitabiDedeKorkut" consisting of a text and a short dictionary, MG Tahmasib, Sh.A. Zhamshidov, A. Demirchizade, F. Zeynalov and others. The works of scientists can be noted [24]. Kazakh scientists A. Margulan, A. Konyratbayev, H. Suinshaliev, R. Berdibayev, M. Zholdasbekov, Sh. Ibrayev in their research considered the "Book of Korkyt Ata" in terms of literary heritage and expressed their views [25]. The study of the "Book of Korkyt Ata" has reached a new level in the 21st century and has been supplemented by fundamental research[26].. New research has been published on the transcription of the written artifact, which is misleading and ambiguous as well. In 2001, SemihTezcan and HendrikBushoten first published separate transcripts of the Dresden and Vatican versions of the Book of Korkyt Ata. This work shows the manuscript errors identified in the Dresden and Vatican versions, which are given in the form of transliteration of words and notes [27]. Besides, S. Tezzhan in his work "Notes on the legends of Korkyt Ata", published in the same year, expressed his views on many linguistic issues in the text of the manuscript [28]. These were important works in the field of reading and correct transcription of the manuscript, which filled a large gap in the study of the "Book of Korkyt Ata". In 2005 and 2016, Sadettin Özçelik published research papers on Korkyt Ata's book [29]. These works include a facsimile, transcription of the Dresden version, as well as corrections to the words left in the manuscript, misspelled, unintelligible, comments, a dictionary of words and phrases in the text, and index. The fact that the original and the transcription were given at the same time made it easier to compare the manuscript. It is also a significant work in terms of reading the text of the manuscript in a new way, making appropriate corrections, taking into account the issues of his previous research. In 2006, Osman FikriSertkaya published a transcription of the "Introduction" section of the Dresden version and comments on this section [30]. Mustafa Sinan Kachalin first (2006) published a research paper containing the transcription, commentary, and dictionary of the Vatican version, then (2017) the transcription and dictionary of the Dresden version, as well as poems from V. Ruben's "Book of Korkyt Ata", Turkish translation of the article [31] and others, published a comprehensive study containing additional information [32]. In these studies, MS Kachalin also expressed important views on the advantages and disadvantages of the Vatican version over the Dresden version, as well as the period of manuscripts. All these works published in later periods were important steps for the correct transcription, correction, and comprehension of manuscripts of the "Book of Korkyt Ata". Given the paleographic features of the manuscript, some information on the cover, the period when the "Book of Korkyt Ata" was included in the general letter is about the XV-XIII centuries. assumed that. However, the language of the song retains the linguistic features of the XIII-XIII
13196 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
centuries. Although the poems describe the Oguz as Muslims, they depict non-Islamic aspects of their lives (drinking wine by Oguzbeks, Deli Domrul's fight with Azareil, etc.), as well as a significant number of Mongolian words and ammunition. The fact that only ancient weapons, such as bows, spears, arrows, axes, and arrows, were mentioned, indicates that these songs were born and formed earlier. Also, the preservation of place names in the Syr Darya and Kazakh lands, such as the mountain Kazylyk (Kazygurt), Kokshetau, ArkaBel, Alatau, Karatau, Karashyk, Turkestan, which are often mentioned in the poems, confirms this opinion. These songs must have been written in Anatolia, where the Oguz-Kipchak people once migrated, were born in Syr Darya, sang for centuries, and then moved with the Oguzs, adding new plots and new stories. The narrative nature of the song reflects the ancient Zhyrau tradition. After each significant event, Korkyt Ata comes, speaks, sings, and blesses. And the songs about Delhi Domrul and Tobekoz seem to have been published even earlier. The Dresden version of the "Book of Korkyt Ata", as mentioned above, consists of twelve songs glorifying the heroism of the Oguz heroes. In addition to the Oguz heroes, these songs tell about the life, customs, religious beliefs, etc. of the Oguzs. Although the total number of surviving poems is twelve, the heroic qualities and features of the poems are described in detail: "When he was angry, he smashed a black stone, blackened his black mustache in seven places, the dragon of heroes" Kara Gone, Kazan's brother, "opened the iron gate in Derbent." Deli Dundar, the son of Kiyan Salzhuk, who blew the blood of Kipchak Malik with an iron bow, the name of which was Kara Budak, the son of Kara Gone, who blew blood on sixty thousand infidels, built snow on the flames of a white horse Sher Shamseddin, son of Gapilet Khoja, said, “If you sew a fur coat from sixty donkey skins, you will not cover your ankles, if you sew an earlobe from six donkey skins, you will not cover your ears and arms”. Bloody mustache when he was angry, bloody beard "Bugduz Oak," The stallion swam in the water of the eyes, took the keys to the fifty-seven fortresses, vomited blood on the Sufi Sandal Malik "ElikHodjaulyAlypEvren (Oren)," Three days the enemy wept blood "TogsynulyRustem, “From one end of the earth to the other Terry "However," The Two Towers tower yellow birch rifle (arrow) is not re-fired "on the shoulders of the great country, such as the mentioned Oguz men originally likely to be individual songs. Unfortunately, the songs about them have not been preserved. Given such issues, it seems that this inscription, which was once sung by the Oguz- Kipchak tribes who migrated along the Syr Darya, reached Anatolia only by suffix. In general, in Kazakhstan, the "Book of Korkyt Ata" is considered in detail in the literature, and fundamental research has been conducted, but to date, this inscription has not been translated from the original into Kazakh. In 1986, folklorist-scientist, professor A. Konyratbayev and M. Baidildayev translated the "Book of Korkyt Ata" from Russian [33]. Subsequently, B. Iskakov, Sh. Ibrayev translated from Turkish [34]. Of course, these literary translations determine the content, plot, ideas, etc. of the poems. Although
13197 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
there were significant works that were the basis for many studies in terms of issues, they did not linguistically retain the original forms. In particular, in the Russian translation by A. Konyratbayev and M. Baidildayev, many Turkic elements preserved in the Kazakh language deviated from the original, and under the influence of the Russian translation, the inscription was distorted without preserving the original form common to the language of the monument and modern Kazakh. There were also distortions in place names due to the Russian translation. For example, the original Kazylykmountain is translated as Caucasus. Not all of these gaps are covered, but only a few can be seen in the following ways:
Transcription and translation of the Translation by A. Konyratbayev and M. original Baidildayev
D.9а.9-10. Ola kim bir aġzı duʿalı-nuŋ He said that if a noble man blesses at that alḳışıyla Taŋrı bize bir batman ʿayal vėre, wedding, God will give us a son (p. 26; Song dėdi. 1). [35] (With the blessing of a prayerful man, God will give us a baby boy.)
D.9b.3-4. Bir aġzı duʿalı-nuŋ alḳışıyıla The blessed prophet's request was granted, Allah Teʿala bir ʿayal vėrdi. and the Lord of the universe gave him a child (With the blessing of a prayerful man, Allah (p. 26; Song 1). Almighty gave him a child)
D.20b.6-12. Ḳoŋur atın çekdürdi, buṭun bindi. Tepel ḳaşġa ayġırına Ṭundar bindi. Kazan took his black horse, rode it and rode Gök bedevisin ṭartdurdı, Ḳazan Begüŋ it. Dondaz rode on a horse with a hill in front ḳarındaşı Ḳara Göne bindi. Aġ bedevisin of it. He took the name of his fast Bedouin, çekdürdi, Bayındır Ḫanuŋ yaġısın baṣan and Kazan Bek's brother Kara Kone rode on Şer Şemşe’ddin bindi. Paraṣaruŋ Bayburd it. Shamsaddin-Sher, who had defeated ḥiṣarından parlayup [uçan] Beyrek boz Bayandur Khan's enemy many times, rode ayġırına bindi. Ḳoŋur atlu Ḳazana keşiş his Bedouin horse. Bayrak, who captured the dėyen Beg Yegenek ṭorı ayġırına bindi. fortresses of Bayburd and Para-Sara, rode on Ṣaya varsam dükense olmaz. his horse. October fortune teller (mullah), (He rode on a purple horse. Tundar rode on a owner of a brown horse Iekenk rode his stallion Tobel Kaska. He rode on a blue purple horse. There is no time to list Bedouin horse, Kazan Bek's brother Kara everything (pp. 36-37; Song 2). Gone rode on it. Sher Shamsheddin rode on a white Bedouin horse and defeated Baindyr Khan's enemy. Kuren rode Kazan on a stallion called "pious" by Yegenek, and I can't stop counting.) D.28a. Ṭolaması [altun] bėşikde beledügüm oġul! (My son with a [golden] cradle!). I brought you up in a golden diaper and D.43a.5-7. Bari Bayındır Ḫanuŋ raised you in a cradle (p. 43; song 2). tavlasından iki şehbaz yügrük at getürüŋ.
13198 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
Bir keçi başlu keher ayġırı, bir toḳlı başlu ṭorı ayġırı. (At least bring two tulpars and a racehorse from Baindyr Khan's herd. One should be a Give me two horses from Bayandur Khan's goat-headed stallion and the other a ram- galloping horses, one for a goat and one for a headed stallion). sheep (p. 54; song 3). D.46a.11-13. Dede gördi[-]kim Delünüŋ canına gėçmiş, başı ḳayusı olmuş, gevdesi When Esalan Karshar came out, Korkyt saw püre-den görinmez, yüzü gözi belürmez. that he was just begging. Fleas clung to his (Ata looked at Delhi (the crazy) and saw that body like black soot. It was difficult to his body was not visible from the flea and his separate the eyes and the face (p. 57; song 3). face was not visible). D.48a.6-7. Göz açuban gördügüm, göŋül When I opened my eyes, I saw nothing but ile sevdügüm, bir yaşduḳda baş you, you were the only one my heart loved. ḳo[y]duġum. In a narrow bed, our heads are not connected (I opened my eyes, kissed with all my heart. I (p. 58; song 3). gave up on a pillow). D.97b.5-6. Ol zamanda Oġuz yigitlerine ne In Oguz times, if a young man had a ḳaża gelse uyḫudan gelüridi. problem, he knew how to dream (p. 98; song (In those days, Oguz men woke up no matter 6). what happened). D.98a.11-12. Yaşanuban üzerüŋe yaġı yėtdi. (The country was empty before the elder men The enemy lined up (p. 98; song 6). died). D.103b.4-5. Ḳażılıḳ Ḳoca anı The old fortresses of the Gauirs are alive (p. gördüginleyin yėl gibi yėtdi, yelim gibi 98; song 6). yapışdı. (when Kazhilik Khodja saw him, he quickly Oguz Kazylyk sniffed the horse in the wind arrived as a wind) and clung to the ground like clay (p. 102; D.132a.5. Ayaġına at ṭuşaġın uruŋ. song 7). (put handcuffs on his legs) D.133a.2-3. Ḳademi ḳutsuz gelin dėyince udsuz gelin dėsünler. Put a horse's hooves on his feet (p. 125; song (instead of saying that the bride brought 10). misfortune, let them say came the shameless bride) Then I will be an unhappy bride, but I will D.138a.11-13. Begler, gelüŋ yatalum, dėdi. not be ashamed (p. 126; song 10). Ḳazanı küçücek ölüm ṭutdı, uyudu. Meger ḫānum, Oġuz begleri yedi gün uyurıdı, Let's capture this fortress, ”he said. But it was anuŋ[-]içün küçücek ölüm dėrleridi. time for Kazan to sleep half-dead. If he slept, (Beks, let's go to bed, - he said. The cauldron he would not wake up for seven days. The was overwhelmed by a small death (sleep). Oguz people call it "transient death" (p. 131; My lord, Oguz beks slept for seven days, p. 11). that's why it was called a small death)
Although the translation of B.Iskakov and Sh. Ibrayev from Turkish was close to the original, some parts of the poem were shortened and left untranslated, and some parts were translated differently. For example, in the
13199 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
introductory part (D.3a) Korkyt Ata's words about the Ottoman dynasty, between lines 11 of page D.32b and line 6 of page D.33 of the manuscript, 8-9 lines describing the horseman Aruz Khoja and the bloody beard Bugduz Yemen are not translated. There are also points in different parts of the song that deviate from the original and have different meanings. Some of these are as follows: Transcription and translation of the Translation by B. Iskakov and Sh. Ibrayev original
D.3b.9. Eski panbuḳ bėz olmaz. An old reed is not a needle (p. 128) [36] (Old cotton will not be gray)
D.3b.12. Oġul atadan görmeyince ṣofra The son does not travel until he sees his çekmez grandfather (p. 128). (The son does not set the table until he sees the father)
D.34b.2-3. Ḳaçanını Ḳazan Beg ḳovmadı, Kazan Bek did not chase the fugitives. He aman dėyeni öldürmedi. Ḳalın Oġuz begleri did not kill the survivors. This was a lesson ṭoyum oldı. for many Oguz Beks(p. 142). (Kazan Bek did not chase the fugitives; he did not kill "Sauga". Many Oguz fortresses benefited)
D.40b.11-41a.1. Vallah sulṭanum,(12) bu yigit yüzi niḳablu "Uallahi, my sultan, he is a handsome young yaḫşı yigit-dür, beg oġlı beg(13) imiş, man with a burning face, he looks like the dėdiler. son of a prince," said the girls. Banı Çiçek eydür: - Girls, my father said to me: "I will give you Hey hey dayeler! [Babam] maŋa Ben seni to Barik, whose face is burning." (P. 145) yüzi niḳablu Beyrege vėrmişem, dėridi. (- Allahi, sultan girl, this guy is a good guy with a mask, Bek's son is a strong guy, - he said. Banu Sheshek says: - Hey, babysitters! [My father] would say to me, "I gave you (D.41a) to Beyrek, who covered his face.")
D.151а.7. Aruz ṭayuŋdan adem geldi. A man came from the teacher Aruz. (P. 197). (A man came from your aunt Aruz).
D.151а.11. Na-merd ṭayuŋ ḳaḳıdı Арамаза тәрбиешің ашуланды (197-б.). (Your uncle is angry). The educator became angry (p. 197).
13200 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
D.137b.7. İki ḳardaş birbirine ṣaġdıc oldılar. The two relatives became co-brother-in-law (Two brothers became Shafers to each other). (p. 191).
D.64а.5-10. Dėmez olursaŋ ḳalḳubanı yėrümden men If you don't tell the truth, ṭururam. I get up from where I'm sitting. Ḳara gözli yigitlerümi boynuma aluram. I'll test my guys, Ḳan Abḳaza ėline men gėderem. Wearing a gold talisman, Altun ḫaca men elümi baṣaram. Go to the land of bloody Abkhazia, Pilon gėyen keşişüŋ elin öperem. I will tear down their flags. Ḳara gözlü kafir ḳızın men aluram. I will destroy my country, Daḫı senüŋ yüzüŋe men gelmezem. I will take a black-eyed girl, Aġladuġuŋa sebeb ne? dėgil maŋa! Tell me why you are crying, Ḳara başum ḳurban olsun aġam saŋa! dėdi. Let my father be a sacrifice to you! - said (p. 157). (If you don't tell me, I'll get up now, I take my dark-eyed guys with me, (Here the words of Kazan's son Oraz, who I am going to the land of bloody Abkhaz. fled from his father, went to the land of I put my hand on the golden cross. Abkhazia, converted to their religion, took an I love the hand of the pious who wears the infidel daughter, assimilated into the people pylon, and will not return to the country, are I will marry a black-eyed infidel. translated from the original meaning and go I will not come back to you. to invade the infidel country). Why are you crying? Tell me! May my black father be a sacrifice to you, my brother (father)! - he said).
As we can see from the above examples, the Kazakh translations of the Book of Korkyt Ata are literary translations based on the Russian and Turkish translations of the book, so there are deviations and distortions from the main version. However, despite some shortcomings, it should be noted that these translations have long been important works that have met the great need. For example, in the "Book of Korkyt Ata" there are about eight thousand words and phrases. This is a rich linguistic material that will tell us about the life, customs, traditions, beliefs, and history of an entire nation. Elements of the Kipchak language, place names, words, and phrases that give information about customs and traditions, preserved in the inscription, also play an important role in determining the geography of the song. Therefore, read and transcribe the book "Korkyt Ata" from the original facsimile; re-reading and interpreting doubtful words read differently in previous transcriptions; Focusing on the Kipchak elements of the poem and translating it into our native language, ie modernization in the Kazakh language, compiling the dictionary of the book is not only for historical and comparative linguistic research, but also for ethnolinguistic, ethnographic, etc. also plays an important role for research. For this reason, we decided to transcribe the Dresden version of the Book of Korkyt Ata from the facsimile of the manuscript and update it in the Kazakh language. The works of Orhan Shaik Gokyai, Muharrem Ergin,
13201 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
Sadettin Ozcelik, Mustafa Kachalin, Semih Tezcan, and Hendrik Bushoten were taken into account during the reading and transcription of the manuscript. In some cases, we referred to those works. We relied mainly on our own experience. While reading this monument, we used our own experience of reading Orkhon inscriptions. For ease of comparison, the transcription should include pages, pages, lines of the manuscript in the form "D.3a-1" (Dresden version, page 3a, line 1), "D.3b-11" (Dresden version, page 3b, line 11). shown. In general, the Dresden version has a lot of handwriting errors. In the manuscript, one word is sometimes split in two, and sometimes two words are written together, and some words, including proper nouns, are written differently in different places, and spelling errors are common. We have tried to show them in the transcription of the manuscript, as well as in the references. The inconsistency of such errors in the manuscript leads to the idea that this version should have been written by one or more singers, not by the finished manuscript. Of course, it is a matter of the future to identify these issues. Conclusion We studied ancient artifacts in the 1960s and as a result of my research, many works were published. For example, in 1967, together with my teachers B. Kenzhebayev and H. Suinshaliev, I wrote a section on ancient Turkic written monuments in the "Early Literary Versions" and provided a transcription and translation of Orkhon written monuments. In 1969 I defended my dissertation on "Versions of ancient Turkic literature and their relation to Kazakh literature." In 1985, my research "Asyl Arnalar" was published, covering the period from the deepest roots of Kazakh literature to modern literature. In 2005, I published a large-scale work "Complete Atlas of Orkhon Monuments", prepared jointly with K. Sartkozhauly, which includes new transcriptions, translations and interpretations of ancient Turkic monuments. All these works became the basis of many linguistic researches and entered into scientific circulation. The Book of Korkyt Ata, which was born in the 8th century, was sung orally from century to century, was modernized, supplemented, moved with the Turkish people and written in Anatolia, was read for the first time in the country from the sources. The features of the Kipchak language in the book are also fully preserved. There is no doubt that the transcription of the "Book of Korkyt Ata" and the updated version in the Kazakh language will be put into scientific circulation and new analytical work will be carried out, thus it will surely help to determine the stages of historical development of the Kazakh language. We preferred that our translation is not merely from the translation of foreign language models, but it should be based on the ancient form of one language to the modern one. It should also be noted that the translation of our teachers especially by our Russian friends is not due to the mastery in the translations, but because of the kinship of the ancient Turkic language and the modern Kazakh language.
13202 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
Of course, this work also has its limitations. However, we hope that in the future this work will be the beginning of transcription of other valuable medieval artifacts and their modernization following the Kazakh language.
References Жолдасбеков М. Асыл арналар. - Алматы: Жазушы, 1986 . - 328 б. Мелиоранский П.М. Краткая грамматика казак-киргизского языка. Ч. 1-2. Санкт-Петербург: Акад. наук, 1894-1897 г. С - 23 Спасский Г. «Древности Сибири (с приложением альбома)» //Сибирский вестник, 1818 г. Ядринцев H.M. Отчёт экспедиции на Орхон, совершённой в 1889 году... СТОЭ, вып. I. СПб.: 1889. - 51-113. Гейкель А.О. «Надписи долины Орхона», Восточное обозрение. Иркутск, 1891, №13: 7-8. Радлов В.В. Атлас древностей Монголии, Вып. I-IV. СПб. 1892-1899. Малов С.Е. Памятники древнетюркской письменности (тексты и исследования). - Москва: Акад. Наук ССР, 1951. С- 92. Аманжолов А.С. «К генезису тюркских рун»// Вопросы языкознания,1978. №2: 76-87.; Мусабаев Г. Становление и развитие казахского литературного языка и вопросы диалектологии. - Алматы, 1952.; Айдаров Г.Язык Орхонских памятников древнетюркской письменности, Алматы.– 1972. Стеблева И.В. Поэзия тюрков VІ-ҮІІІ веков. - Москва,1965. С- 148. Орхон ескерткіштерінің толық Атласы/Құр. Жолдасбеков М. Қ.Сартқожаұлы/Астана: Күлтегін, 2005. – 360 Thomsen V. (), Inscriptions de l’Orkhon,-memoiresde la Societe Finno- Ougrienne. (MSFOU). V.Helsingfors. 1896., p 97. Radloff W. (Die altturkischen inschriften der Mongolei, //ATIM.St.Petersburg N.F.spb., 1897), p 16 Радлов В.В. Мелиоранский П.М. Древнетюркские памятники в Кошо- Цайдаме // СТОЭ.т.IV.СПБ.,. вып.4., 1897.-с. 1-65. Diez H.F. Denkwürdigkeiten von Asien. Berlin und Halle, 1815. Rossi E. “Un nuovo manoscritto del Kitab-ı Dede Qorqut”, Estratto dalla Rivista Degli Studi Orientali, 1950. c. XXV, 34-43 бб. Rossi E. Il Kitab-i Dede Qorqut. Citta del Vaticano, 1952. Gökyay O.Ş. Dedem Korkudun Kitabı. İstanbul, Kabalcı, 2006. 644 б.; M.Ergin. Dede Korkut Kitabı I. Giriş-Metin-Tıpkıbasım. Ankara, 2009. s. 57. Бартольд, В.В. Китаби-Коркуд, І. Борьба богатыря с ангелом смерти // ЗВО, т. ҮІІІ, СПб, 1894, с. 203-218; Соныкі. Китаби-Коркуд, ІІ. Рассказ о Богач-хане, сыне Дерсе-хана // ЗВО, т. ХІ, СПб, 1899, с. 175-193; Соныкі. Китаби-Коркуд, ІІІ. Рассказ о разграблении дома Салор-Казана // ЗВО, т. ХІІ, СПб, 1900, с. 37-59; Соныкі. Турецкий эпос и Кавказ // Книга моего Деда Коркута. Огузский героический эпос. Перевод В.В.Бартольда. Издание подготовили: В.М.Жирмунский и А.Н.Кононов.Москва‒Ленинград, АН СССР, 1962. Туманский А., По поводу «Китаби-Коркуд» // ЗВОРАО, Т.ІХ. 1896, с. 269-272; Жирмунский В.М. Огузский героический эпос и
13203 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
Книга Коркута// Книга моего Деда Коркута. М.-Л., 1962. С.131-258; Соныкі. Тюркский героический эпос. Ленинград, Наука, 1974; Кононов А.Н. Родословная туркмен, сочинение Абуль-Гази-хана Хивинского. Москва-Ленинград, 1958; Якубовский А.Ю. «Китаб-и Деде Коркут» и его значение в изучении туркменского общества в эпоху раннего средневековья// Книга моего Деда Коркута. М.-Л., 1962. С.121-130. Короглы Х.Г. Огузский героический эпос. Москва, 1976. -238 с. Gökyay O.Ş. Dede Korkut. İstanbul, Arkadaş Basımevi, 1938. s. LXXVII+171. Ergin M. Dede Korkut Kitabı I (Giriş-Metin-Faksimile), Türk Dil Kurumu Yayınları, Ankara, 1958; Ergin M. Dede Korkut Kitabı II (İndeks- Gramer), Ankara, Türk Dil Kurumu yayınları, 1963. GökyayO.Ş.Dedem Korkudun Kitabı. İstanbul, 1973. Араслы Һ. Китаби Дәдә Горгуд. Азәрбаjҹан дөвләт нәшриjаты. Бакы, 1962; Соныкі. Сечилмиш әсәрләри. Азәрбаjҹан әдәбиjjаты: тарихи вә проблемләри. Бакы, Кәнҹлик, 1998. -732 с.; Тәһмасиб М. «Дәдә Горгуд» боjлары һаггында// Азәрбаjҹан шифаһи халг әдәбиjjатына даир тәдгигләр (мәгаләләр топлусу). Бакы, 1961. С. 3-51; Соныкі. Гәһрәманлыг дастанлары: «Китаби-Дәдә Горгуд»// Азәрбаjҹан хәлг дастанлары (Орта әср). Бакы, 1977. С. 112-130; Ҹәмшидов Ш. «Китаби-Дәдә Горгуд» (монографиjа). Бакы, Елм, 1977. -176 с.; Дәмирчизадә Ә. «Китаби-Дәдә Горгуд» дастанларынын дили. Бакы, АПИ нәшри. 1952. -162 с.; Зеjналов Ф. «Китаби- Дәдә Горгуд» вә дүнjа шәргшунаслыгы. Бакы, 1976. Марғұлан Ә. Ежелгі жыр, аңыздар. Алматы, 1985. 135-288 бб.; Қоңыратбаев Ә. Қазақ эпосы және түркология. Алматы, 1987. 160-187 бб.; Соныкі. Қазақ фольклорының тарихы. Алматы, 1991. 86-91 бб.; Сүйіншәлиев Х. ІХ-ХІІ ғасырлардағы әдебиет ескерткіштері. Алматы, 1977. 3-33 бб.; Бердібаев Р. Эпос ‒ ел қазынасы. Алматы, 1995. 39-48 б.; Жолдасбеков М. Асыл арналар. Алматы, 1986. 110-125 бб.; Ибраев Ш. Поэтика огузского героического эпоса. Алматы, Ғылым, -128 б.; Соныкі. Художественно-изобразительные средства «Китаби- Дедем Коркут» (в сравнительном изучении с эпосом тюркоязычных народов): Автореферат диссертации на соискание учен. степ. канд. филол. наук.Москва, 1979. -18 с. Alimbekov R., Kazakbaev A. «One historical truth in the korkyt legend» Opción, Año 35, Regular No.90-2 (2019): 161-171 Tezcan S.; Boeschoten H. Dede Korkut Oğuznameleri, Yapı Kredi Yayınları, İstanbul, 2001. Tezcan S. Dede Korkut Oğuznameleri Üzerine Notlar. İstanbul, 2001. ÖzçelikS. Dede Korkut Araştırmalar, Notlar/ Dizin/ Metin, Ankara, Gazi Kitabevi, 2005; Соныкі, Dede Korkut (І). Dresden nüshası.Giriş, Notlar. Ankara, 2016; Dede Korkut (ІІ). Dresden nüshası. Metin, Dizin. Ankara, 2016. Sertkaya O.F. Dede Korkut Kitabı Nüshasının “Giriş” Bölümü, İstanbul, Ötüken Neşriyat, 2006.
13204 THE EXAMINATION AND INTERPRETATION OF MEDIEVAL TURKIC WRITTEN MONUMENTS (Monuments of PJAEE, 17 (6) (2020) Tonykok, Bilge Khagan, Kultegin and the Book of Korkyt Ata)
Ruben W. (1899-1982), Ozean der Märchenströme Teil I: Die 25 Erzählungen des Dämons (Vetalapancavimsati) mit einem Anhang über die 12 Erzählungen des Dede Korkut, Helsinki 1944, 193-285 vd. FF Communications No: 133. Suomalainen Tiedakatemia adlı eserden tercüme eden: Ankara Atatürk Lisesi Almanca öğretmeni Sait Gökçe (Ankara 1944). Türk Dil Kurumu Kütüphanesi Etüt 6. KaçalinM. Dedem Korkudun Kazan Bey Oğuz-namesi, İstanbul, Kitabevi, 2006; Соныкі, Oğuzların Diliyle Dedem Korkudun Kitabı. Ankara,TDK Yayınları, 2017. Қорқыт Ата кітабы. Орыс тілінен аударған: Ә.Қоңыратбаев, М.Байділдаев. Алматы, Жазушы, 1986. 128 б. Қорқыт Ата кітабы. Түрік тілінен аударған: Б.Ысқақов. Алматы, Жазушы, 1994, 160 б.; Қорқыт Ата кітабы. Түрік тілінен аударған: Б.Ысқақов, Ш.Ыбыраев // Қорқыт Ата. Энциклопедиялық жинақ. Алматы, Қазақ энциклопедиясы, 1999. 123-198 бб. Ә.Қоңыратбаев пен М.Байділдаевтің аудармасына қатысты мысалдар мына дереккөзден алынды: Қоңыратбаев Ә., Байділдаев М. Қорқыт Ата кітабы// Қорқыт Ата кітабы. Астана, Фолиант, 2008. 20-144 бб. Б.Ысқақов пен Ш.Ыбыраевтың аудармасына қатысты мысалдар мына дереккөзден алынды: Қорқыт Ата кітабы. Түрік тілінен аударған: Б.Ысқақов, Ш.Ыбыраев // Қорқыт Ата. Энциклопедиялық жинақ. Алматы, Қазақ энциклопедиясы, 1999. 123-198 бб.
13205