Гэсэрийн туужийн өгүүлэмжийг бүтцийн онолын үүднээс задлан шинжлэх нь

Abstract

The renowned “Epic of Geser Khan” is a vital part of Mongolian cultural heritage, woven with captivating folklore and legends. When it gained popularity in Mongolia, it led to various versions like “Peking woodblock printed Geser,” “Nomch Khatan’s Geser,” “Monk Zaya Pandita’s Geser,” “Zamlin Senchin’s Biography,” “Mongolian Lin Geser,” “Story of Tseveen’s Geser,” and “Geser in clear script.” In 1959 and 1960, B. Renchin and Ts. Damdinsuren contributed introductions and published these versions in the ‘Mongolian Memorial Writing Conference’ series, providing concise and detailed summaries in terms of content and size.
 Scholars believe that the narrative structures of the versions of “Peking woodblock printed Geser,” “Monk Zaya Pandita’s Geser,” “Nomch Khatan’s Geser,” and “Story of Tseveen’s Geser” share the similarity. It is suggested that “Yun Fu Se’s Geser,” published in 1716, is considered the subsequent volume of the “Peking woodblock printed Geser.” Hence, the objective is to scrutinize the narrative patterns within the novels “Yun Fu Se’s Geser” and “Peking woodblock printed Geser”, aiming to clarify and explain the interrelationship between these versions.
 It is a method of imagining epic events without a specific sequence. When comparing the two volumes, Firstly, it follows a common sequence in Mongolian epics. Time is often emphasized at the start, detailing the hero, his loyal companion, the assisting knight, and sworn oaths. Various obstacles are then introduced in diverse ways.
 Secondly, despite the Hero’s triumph, a contradiction arises as the seeds of suffering ripen within him. In Geser’s youth, an archenemy seizes his possessions and robs his parents, leading to Geser’s growth into a hero. This recurring pattern shapes the overall structure of the novel. The ensuing analysis employs structural theory to explicate internal connections, detailing how a fixed typology was utilized to iterate and elaborate upon the content of Geser’s novel.
 Thirdly, the queen gets captured, the hero’s home faces an invasion, and the hero chases and rescues, restores order, defeats enemies, and gains glory. The story of the Mongolian epic revolves around two main themes: the adventure of the hero’s wedding, and the battle against the monster, witch, or the other tribes. Based on these two themes, the new chapters of Geser’s novel, enriched with stories of heroes’ adventures, and heroic battles were created in interaction with oral and written traditions.
 Chapters XII and XIII of “Yun Fu Se’s Geser” exhibit a similar syntagmatic structure to the battle group featuring Sharaygol’s three kings in “Beijing Tiger’s Geser.” However, in “Yun Fu Se’s Geser” the events unfold on a grand scale, characterized by a high narrative frequency and a rich linguistic composition. Notably, these chapters align more with the tradition of written literature, preserving a distinct emphasis on detailed character descriptions and pronounced event depictions, in contrast to the oral tradition.