Ornithological imagery in the epics “Ural-Batyr” and “Koblandy-Batyr”

Abstract

This article presents a comparative study of ornithological imagery in the Bashkir "Ural-Batyr" and the Kazakh "Koblandy-Batyr" epics. From the perspectives of mythopoetics and textual criticism, the study examines the systematic interplay of the mythological, symbolic, semantic, and poetic functions of bird imagery. The research is based on classical versions of the texts of both epics. Despite the welldeveloped nature of the Turkic epic as a subject, ornithological imagery within its structure remains under-researched. Most studies are limited to analyzing individual works and neglect the comparative aspect. While preparing the article, the authors relied on relevant historical sources, ethnographic data, and fundamental works on the folklore and literary studies. The study’s methodological framework is an integrated approach combining textual, semantic-symbolic, comparativetypological, and mythopoetic analyses. This approach allows for a deeper interpretation of the structural and semantic content of the texts, revealing the archetypal foundations of the worldview reflected in the Bashkir and Kazakh epic traditions. The research results confirm the significant role of ornithological imagery in both epics while also highlighting their divergent semantic and functional characteristics. In the Bashkir epic “Ural-Batyr”, ornithological imagery appears as independent mythological characters inextricably linked to cosmogonic and sacred meanings. Examples of this imagery include Samrau, Humay (swan), and Aykhulu (duck), which represent the upper world and embody the symbolism of the sky, sun, and moon. These birds also perform a mediatory function between the earthly and celestial realms. Endowed with anthropomorphic traits, birds play a fundamental role in structuring the tripartite model of the universe. They function as totemic or cult symbols and as active mythological agents with the capacity for verbal communication and reversible metamorphosis. In the "Koblandy-Batyr" epic, bird imagery is interpreted differently. The falcon, golden eagle, and hawk are realized through a system of fixed epithets, similes, and metaphorical constructions characteristic of heroic epic poetics. These constructions emphasize the exceptional nature of the protagonist. The article substantiates the universalization of the falcon image, extending it to female characters as well (Karlyga, Kurtka). Deconstructing traditional folkloric patterns involving swallows, swans, nightingales, and peacocks in favor of predatory symbolism foregrounds the female warrior archetype. Furthermore, a binary parallelism between zoomorphic (tulpar) and ornithomorphic (falcon) motifs is evident in the epic's artistic structure. In both epics, the image of the raven is present and characterized by ambivalence: in the archaic layer of "Ural-Batyr", it functions as a demiurge and primordial ancestor (as reflected in the raven's monologue and its depiction on Katil's flag), whereas in the narrative context of "Koblandy-Batyr", it appears as a harbinger of tragedy, symbolizing threat and death. A comprehensive analysis of ornithological imagery deepens our understanding of the semiotics of Turkic epics and opens new avenues for comparative research.