THE SYSTEM OF HEROISM AND ITS CRITERIA
Andijan State University
1st-year student
Rakhimberdiyev Ozodbek Rasuljon o‘g‘li
Abstract:
This article explores the conditions and principles of the heroic system in folk oral creativity, as well as the tools and weapons that help establish this system. The study examines the manifestations of heroic motifs and the use of combat weapons in the epics “Alpomish” and “The Birth of Gorogly.”
Keywords: Heroic system, folk epics, patron saints, inert society, celestial bow, auspicious birth sign, heroic suffering, figure of Khidr.
It is well known that in heroic epics there exist figures of alp heroes—brave warriors who devote their lives to defending their homeland. The main distinguishing feature of heroic epics, which separates them from other types of folk narratives, is the presence of the heroic system that embodies constant ideals and immutable values in the collective consciousness of the people. The heroic system represents the artistic expression of the unity of concepts characteristic of heroic epic creativity. It is unique to this genre and rarely appears in other narrative types such as legends or fairy tales.
Below we will examine the main conditions and criteria of the heroic system.
1. Divine Patronage Before Birth
First and foremost, the future hero is believed to be under the spiritual protection of divine beings or erans even before birth (in ancient epic tradition, the alp was considered a direct descendant of the gods). For instance, in “The Birth of Gorogly”, celestial beings such as angels, spirits (chiltons), and Khidr, the leader of the erans, play a guiding role in Gorogly’s birth, upbringing, and heroic deeds.
Similarly, in “Alpomish,” the hero’s divine favor and spiritual guardianship before birth is described as follows:
“After forty days, a voice was heard from the garden:
‘Boybo‘ri, God has blessed you with twins—a son and a daughter.
Boysari, you have been granted a daughter.
When you hold a feast for their birth, I shall come as a wandering dervish and name the children myself.’”
This scene reveals that every alp possesses a spiritual patron—a guardian or mentor figure symbolizing divine guidance.
2. Prophecies and Omens at Birth
The second criterion involves the hero’s birth under an auspicious star or celestial sign. Often, priests or soothsayers from rival lands foresee the hero’s arrival and attempt to destroy him. While this motif is not vividly depicted in “Alpomish” or “Gorogly”, it is indirectly referenced in Alpomish:
“When the enemies heard this, they said:
‘This boy is extraordinary, blessed with divine favor.
None can match his strength—even at seven years old he performs mighty deeds.’”
This acknowledgment reveals the enemies’ sense of envy and helplessness in the face of divine destiny.
3. The “Pain of Heroism” (Alplik Dardi)
As the hero matures and surpasses his enemies, he experiences the pain of heroism—a spiritual trial that represents both individual and collective renewal. In Alpomish, this is reflected in the “zakot” (tribute) motif, symbolizing the hero’s moral and spiritual testing. The hero becomes both the redeemer and the sufferer for his people. His mistakes and triumphs mirror those of the entire nation. Thus, the pain of heroism becomes a metaphor for the ethnos’s rebirth and awakening.
4. Connection Between the Hero and the Erans
Another crucial feature of the heroic system is the relationship between the alp and the erans. The erans spiritually strengthen the hero’s body and soul through divine light and sacred drink, granting him supernatural powers. They teach him the mysteries of heroism and reveal his earthly destiny.
In Alpomish, this connection is manifested when Alpomish receives his bow from the erans, when he spiritually unites with Barchin, and in the guidance of his elder companion, Qultoy. Qultoy declares:
“The mark of Alpomish is this:
On his right shoulder lies the imprint of Shahimardon Pir’s five fingers,
And on his left, my own hand’s mark remains.”
Thus, the heroic system forms the very “spine” of the epic—embodying the idea that true heroes are those whom even death cannot defeat.
5. Sacred Weapons and Companions
In epics, heroes are never alone—their loyal horses and supernatural weapons are constant companions. These instruments not only assist the hero in battles but symbolize divine power and destiny. As folklorist Shomirza Turdimov notes in “Uzbek Mythology and Folklore”, the heroic system can be reconstructed through twenty-one features observed in “Alpomish” and “Gorogly.” Among these, two central attributes are highlighted:
The heroic horse that accompanies the alp through trials and transformations.
The sacred weapon received from divine beings or through ordeals, symbolizing the hero’s spiritual strength.
In “Alpomish,” this takes the form of a “fourteen-batman celestial bow made of birch,” while in “Gorogly” it appears as the “fifteen-batman sword bestowed by Ghaus al-Ghiyath.” These weapons transcend the material realm, embodying the hero’s divine mission and identity.
Conclusion
The heroic system is an inseparable component of every epic. The actions of heroes—protecting peace, restoring justice, and defending their homeland—deserve eternal reverence. Through their depiction as symbols of unyielding will, strength, and courage, the alps inspire younger generations to cherish and take pride in the heroic legacy of their ancestors.
References:
Alpomish: Uzbek Folk Heroic Epic. Narrated by F. Yo‘ldosh o‘g‘li, recorded by M. Zarifov. – Tashkent: Sharq, 2010, pp. 93–94.
The Birth of Gorogly: Uzbek Folk Heroic Epic. Narrated by Muhammadqul Jomrot o‘g‘li Polkan. – Tashkent: G‘afur G‘ulom Literature Publishing House, 1967.
Turdimov, Sh. Uzbek Mythology and Folklore. – Tashkent: Fan, 2023.
Jo‘rayev, M., & Eshonqulov, J. Introduction to Folklore Studies. – Tashkent: Barkamol Fayz Media, 2017.
Mirzayeva, T., Turdimov, Sh., Tillayev, A., Jo‘rayev, M., & Eshonqulov, J. Uzbek Folklore. – Tashkent: Malik Print Co., 2021.
Turdimov, Sh. Uzbek Mythology and Folklore. – Tashkent: Fan, 2023.
Madayev, O. Uzbek Oral Folk Creativity. – Tashkent: Mumtoz So‘z, 2010.
Rahimberdiyev Ozodbek was born in the Bostan district of the Republic of Uzbekistan. He is a student at Andijan State University, Faculty of Philology, majoring in Philology and Language Teaching: Uzbek Language. He is a member of international organizations. His creative works have been published. He is a student and an online teacher. He holds international certificates. He writes poetry and articles. Many of his students have received national and international certificates.