On the Functional Features of Image-Forming Verbs in Yakut and Tyvan Epic Texts: Comparative Analysis

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On the Functional Features of Image-Forming Verbs in Yakut and Tyvan Epic Texts: Comparative Analysis

Liliya N. Gerasimova

M.K. Ammosov North-Eastern Federal University

Yakutsk, Russian Federation



Abstract

This work examines the image-forming verbs of the Yakut and Tyvan languages, selected from the Yakut olonkho Dyyray Bogatyr, The Son of the Horse by I.I. Burnashev and the Tyvan heroic epic Khunan Khara by Chanchy-Hoo Oorzhak in order to identify semantic equivalents and functional features of verbs in epic texts, which will contribute to the definition of genetic communities and differences between the Turkic languages and the epic tradition. In analyzing of material, the method of continuous sampling, component analysis method, method of context (distributive) analysis and comparative method were used. The Yakut storyteller pays more attention to detailed and figurative descriptions to create entertainment, colorful pictures and actions, and the Tyvan storyteller - to movements, the course of actions for liveliness and brightness of the course of events, the development of plots. Yakut verbs are used in their original forms and in the forms formed using affixes of specific forms. And Tyvan verbs are used in forms based on the affixes of word formation of verbs and auxiliary verbs. The result of the study allows us to conclude that the functional feature and commonality of the Yakut and Tyvan image-forming verbs lie in their direct participation in the creation of images, description of pictures, and characterization of actions and transmission of feelings.

Keywords: image-forming verbs, Turkic epics, functional feature, olonkho, Tyvan epic.



Аннотация

О функциональных особенностях образных глаголов в якутском и тувинском эпических текстах: сравнительный анализ

Л.Н. Герасимова, Северо-Восточный федеральный университет им. М. К. Аммосова, Российская Федерация, Якутск.

В данной работе рассмотрены образные глаголы якутского и тувинского языков, отобранные с героических эпосов якутского олонхо «Сын лошади Богатырь Дыырай» Бурнашева И. И.-Тонг Суорун и тувинского героического сказания «Хунан Хара» Чанчы-Хоо Ооржака с целью выявления семантических эквивалентов и особенностей функционирования глаголов в эпических текстах, что внесет свою лепту в определении генетических общностей и различий тюркских языков и эпической традиции. Распределение глаголов по семантическим значениям сделано по классификации Л. Н. Харитонова. Якутский сказитель больше внимания уделяет детальному и образному описанию для создания зрелищности, красочности картин и действий, а тувинский сказитель - движениям, ходу действий для живости и яркости течения событий, развития сюжетов. Результат исследования дает нам возможность сделать вывод о том, что функциональная особенность и общность якутских и тувинских образных глаголов заключается в их непосредственном участии в создании образов, описании картин, характеристике действий и передаче чувств.

Ключевые слова: тюркские языки, образные глаголы, олонхо, тувинский эпос, функциональная особенность, эпическая традиция.



Introduction

В.N. Putilov and his statement that «the epic text language research is the most genuine path to reaching an in-depth understanding of the monuments of epic culture» (Putilov, 1978: 8); E.I. Ubriatova states that «the uniqueness of the Yakut language has always required its comparison with other similar Turkic language materials in every detail» (Ubriatova, 1960: 1); these statements justify the reasoning for a comparative analysis of the similar Turkic language epics, in our case, it's the Yakut and Tyvan languages.

A comparative study of the Yakut heroic epic and other Turkic-Mongolic epic was first conducted by I.V. Pukhov (2003), who indicated the general, similar, and various features in the plot, images and styles of the epics. In recent years, the following scholars have conducted research on the Yakut and Tyvan epics - VV. Oboiukova (Oboiukova, 2015), M.T. Gogoleva (Gogoleva, 2015), A.F. Koryakina (Koryakina, 2020); these scholars have singled out the typological and genetical links in terms of the plot and compositions structure, the motifs, and the incorporation of the expressive means and stylistics devices along with the artistic details in the epic plots under study.

The storyteller, who creates and unravels the text of the epic story-line, focuses largely on the word and phrase choice in the plot as well as how the melody and tune is produced while telling the story; i.e., it is as if the storyteller intentionally focuses our attention to the language form of expression, adapting the listener to a conscious and active perception of the plot (Hertek, 2015: 188). In order to fully and vividly project the image, the expressions of feelings and emotions, the storytellers often incorporate descriptive vocabulary, including the abstract and image-imitating verbs.

The presented research overviews the image-forming verbs of the Yakut and Tyvan languages, which were selected from the texts of the heroic epics. The Yakut olonkho written by I.I. Burnashev Dyyray Bogatyr, The Son of the Horse (6687 lines) (Burnashev, 2013) and the Tyvan heroic epic by Chanchy-Hoo Oorzhak Khunan Khara (5442 lines) (THL, 1997).

The Tyvan language is a language of the Turkic group of language of the Sayan-Altai region. The Yakut language is frequently associated with the same group and region of languages. N.A. Baskakov classifies this the Tyvan language under the Uyghur-Tukyuk subgroup of the Uyghur-Oguz group, while the Yakut language belongs to the the Yakut subgroup of the Uyghur-Oguz group (Baskakov, 1969: 313-349). V.I. Rassadin notes that «it would have been a productive thorough and in-depth research if the inner group of the Sayan-Altai Turkic languages areal was studied; the research would help to get a bigger and clearer picture on the features, which these language groups have in common and, therefore, they could possibly belong to the ancient Turkic language, which spread among the aboriginal population of the region under study» (Rassadin, 1981: 231).

Thus, the relevance of this research is based on the insignificant amount of existing research on the incorporation of the image-forming vocabulary in the epic texts as well as the necessity to overview and analyze the use of the image-forming verbs of the Yakut language compared to the Tyvan image-forming verbs with the aim of distinguishing the semantic equivalents and special features governing the functioning of these verbs in the epic texts; this would contribute to defining the common and differentiating genetic features of the Turkic languages and the epic story-telling tradition.

The descriptive and image-forming verbs present a special lexical and semantic group of verbs, the meaning of which conveys «the emotional perception and movement and these play the key role; meanwhile, the visual images are incorporated most frequently» (Kharitonov, 1960: 203). Monographs written by L.N. Kharitonov (1947; 1954; 1960) are the original sources devoted to the study of the Yakut language image-forming verbs. It is worth mentioning that in the previous years, the Yakut linguistics have studied separate groups of image-forming verbs; thus, N.N. Efremov (Efremov, 2017) studied the verbs of movement; E.E. Zhirkova (Zhirkova, 2017) overviewed the verbs depicting the human manner of walking. A range of articles was published on the comparative and contrastive study of the image-forming verbs of the Mongol (Monastyrev, Efremov, 2019; Shamaeva, Prokop`eva, 2019) and Kyrgyz languages (Argunova, Sorova, 2019).

In the «Grammar of the Tyvan language. Phonetics and morphology», the image-forming words, perceived as being a part of imitative vocabulary, are included into the group of interjections; word-formation of the image-imitative verbs is included in the section devoted to the verbs word-formation (Iskhakov, Palm- bakh, 1961: 256-274, 459-461). The phonetic and structural features of the imitative words of the Tyvan language have been studied by В.M. Dorzhu (Dorzhu, 1980), while N.C. Sereedar (Sereedar, 2011) analyzed the onomatopoetic verbs in basic simple sentences with a sound-forming meaning. N.M. Ondar (Ondar, 2004) carried out an analysis of the repetitive structures' features conveyed in the sound- and image-imitating words. Therefore, presently there has not been a special study conducted devoted to the lexical and grammatical group of image-forming verbs in the Tyvan language. For this reason, the main source in classifying the verbs of the Yakut and Tyvan lanaguages is the monograph by L.N. Kharitonov titled Types of verbal stems in the Yakut language (Kharitonov, 1954), in which the scholar outlines the general theoretical statements in the respect to the image-forming verbs as such being a separate type of verbal stems of the Yakut language; the author of the monograph also provides a semantic classification, and, in addition, the typological forms as well as the phonetic features of the image-forming verbs. figurative verb epic yakut

In the course of analysis, the continuous sample method was used in selecting the verbs from the epic texts; the component analysis method, which overviews the meaning of the word as such consisting of elementary meanings (features, components, and semes); the method of contextual (distributive) analysis, which allows singling out various meanings and shades of meanings of the verbs under study in terms of their functions performed in the text; the comparative method which was used in comparing the Yakut verbs to the Ty- van verbs.

Classification of Image-Forming Verbs

The Yakut olonkho text revealed 84 image-forming verbs, while the Tyvan epic tales revealed 13 of such verbs. The verbs were classified in terms of their semantic meaning using the classification proposed by L.N. Kharitonov: the verbs of motion and visual image; verbs of sense perception were not detected in the analyzed texts as «they did not receive any morphological development in the Yakut language» (Kharitonov, 1954: 212):

Verbs of movement in the Yakut language:

- verbs expressing movement in a general meaning (total 16):

a. dzhigihiy `to come into a rocking movement, to shiver, to shutter' (BEDYL, V. 3: 333);

b. unaariy `to lay flat, to stretch out; to move, or to act too slowly' (Kharitonov,1954: 300);

- verbs characterizing human manner of walking, movement of the body and parts of the body (total 13):

a. maadzay `to obtain a bent leg' (BEDYL, V. 6: 176);

b. maray `stick out one's chest when walking or running' (BEDYL, V. 6: 231);

- verbs expressing movement associated with the external shape and structure of an object or body (total 5):

a. hodzhoy `1. to move with a jump; walk with a bouncing gait, being tall and slender; 2. to move, run with a jump, stretching in length' (BEDYL, V. 13: 503);

b. kuybangnaa `wriggle, wag, smoothly bend' (BEDYL, V.4: 440).

Verbs expressing visual images in the Yakut language:

- verbs characterizing the appearance, form and structure of the object (total 24):

a. dallai `1. spread arms or wings sideways; 2. to be excessively large, wide, protruding; 3. become visible, gradually expanding, increasing in volume' (BEDYL, V. 3: 101);

b. kultey `to be swollen, inflated; stand out pout, increased in volume in a rounded shape; be convex, bulging' (BEDYL, V. 4: 609);

- verbs characterizing the physique and figure of a person (total 14):

a. darai `have, broad shoulders; seem broad shouldered' (BEDYL, V. 3: 108);

b. motoy `stick out one's chest' (BEDYL, V. 6: 326).

- verbs characterizing facial expressions and a person's face (total 2):

a. appangnaa `from verb appai: 1. to open slightly, not close completely; 2. carelessly wide-open mouth' (BEDYL, V. 1: 505);

b. nielbey `to have a swollen, inflated appearance as a consequence of stress' (BEDYL, V. 7: 182).

- verbs characterizing light perception (total 11):

a. kundeier `shine dazzlingly, shine with a bright light' (Kharitonov, 1954: 290);

b. tunaliy `be, seem dazzling white, stand out in bright white color' (BEDYL, V. 9: 115).

Verbs of movement in the Tyvan language:

- verbs expressing movement in a general sense (total 2):

a. elengne `1. walk (go) staggering; 2. swing, sway' (TRD, 1968: 612);

b. tendingeier `stagger, swing (in case of loss of balance)' (TRD, 1968: 410);

- verbs characterizing the manner of walking, movement of the body and body parts (total 3):

a. chivesh daa `blink; glisten, flicker' (TRD, 1968: 531);

b. davy `bounce with joy' (TRD, 1968: 140);

- verbs expressing movement associated with the external form and structure of an object or body (total 2):

a. kiybyngna `to fidget, spin; move' (TRD, 1968: 275);

b. saglangaiyin `to move, sway, tremble' (TRD, 1968: 360).

Verbs of the visual image in the Tyvan language:

- verbs characterizing the appearance, form and structure of the object (total 1):

khalangna `hang out (about smth.)' (TRD, 1968: 464);

- verbs characterizing facial expressions and a person's face (total 2):

a. dyrysh `1. to frown; 2. to scorch' (TRD, 1968: 195);

b. kylchangna `to look from underneath (viciously)' (TRD, 1968: 276);

- verbs that characterize light perception (total 2):

a. chyrytkyla `shine, glimmer, flicker' (TRD, 1968: 559);

b. herelden `to radiate, to give off light, emit rays; to spread (rays)' (TRD, 1968: 276).

Structure of Image-Forming Verbs Stems

The Yakut language image-forming verbs structure indicated in the olonkho, contains verbs which are used in both - the original and the transformed form (total of 8 verbs):

a. arbay `to gradually and widely spread oneself, or to tremble' (Kharitonov, 1954: 285) - arbay, arbangnaa;

b. kylay `to shine giving off a bright spot of light at a far distance or to shine through smth, to glisten, to barely be seen, to be seen faintly (used when talking about small objects)' (BEDYL, V. 5: 215) - kylay, kylalyn;

c. kylbay `1. to shine brightly; be or seem to be bright or shiny, to glimmer; 2. to shine with a white light, to whiten, 3. to be or appear to be bright or light-colored; to shine with novelty or freshness' (BEDYL, V. 5: 225) - kylbay, kylbahiy;

d. kyntay 'to be slim, with one's head held high, proudly' (BEDYL, V. 5: 272);

e. suoday `be, or appear to be giant-sized, large, be of a considerable height' (BEDYL, V. 9: 134) - suoday, suodaghys gyn;

f. tomtoy `be or appear to be distinct, rounded, to stand out' (BEDYL, V. 10: 444) - tomtoy, tomtoldzhuy;

g. unaariy `to lay flat, to stretch out; to move, or to act too slowly' (Kharitonov, 1954: 300);

h. chikkey `1. to be tightly strained, not to dangle; 2. to straighten up, to stretch out like a stick, to stand up and straighten up quickly' (BEDYL, V. 14: 132) - chikkey, chikkeldzhiy chikkes gyn.

Examples of transformed forms include the following verbs:

- in the form of a split multiplicity of an action using the -ldzhiy affix [total of 9 verbs]:

a. laglay `to have a low-positioned, wide, and spreading crown; to be short, stout, and equally wide (when referring to the form of smth, someone's complexion)' (BEDYL, V. 6: 72) - laglaldzhiy;

b. halbay `to fall off the track, to lose one's initial place, to decline (from smth)' (Kharitonov, 1954: 301) - halbaldzhiy;

- in the form of unfolded multiplicity of an action using the -ngnaa affix (total of 4 verbs):

a. appai '1. to open slightly, not close completely; 2. carelessly wide-open mouth' (BEDYL, V. 1: 505) - appangnaa;

b. horoy `1. to be or to seem sticking out; 2. colloquial form of: to become taller, to grow' (BEDYL, V. 13: 602) - horongnoo;

- in the form of a shifting multiplicity using the following affixes: -liy, -hiy, -riy (total of 6 verbs):

a. duoday `to be or to seem excessively tall, lean (when referring to a person, or an animal with long and thin legs)' (BEDYL, V. 3: 188) - duodaliy;

b. kylbay `1. to shine brightly; be or seem to be bright or shiny, to glimmer; 2. to shine with a white light, to whiten, 3. to be or appear to be bright or light-colored; to shine with novelty or freshness' (BEDYL, V. 5: 225) - kylba- hiy;

c. nyokoy `to duck down, to bend, to lean forward' (BEDYL, V. 7: 136) - nyokoryus;

- in the form of immediate action using the -s affix:

a. toytoy `1. to be or to seem very small and plump (referring to a person's complexion); 2. to be or to seem very short and stumpy' (BEDYL, V. 10: 424);

b. kyntay 'to be slim, with one's head held high, proudly' (BEDYL, V. 5: 272).

In separate cases, the variation of the vowel and consonant sounds in the stems of the Yakut verbs is quite evident, while the lexical meaning remains the same, for example, myoskoy - byeskey, chomchorus gyn - chyom- chorus gyn, achchai - ahchai.

Among the image-forming verbs selected from the Tyvan legends, there are verbs which are formed using the affixes of the word-forming verbs -ngayiyn / -ngeyin: saglay - saglan- gayiyn; as well as from affixes -ngna / -ngne: doytuy - doytungna, halay - halangna. In addition, verbs formed with the help of the affix -sh and the auxiliary verb di- / de- are used: chyrytkyla - chyrytkylash de-.

The Tyvan image-imitating verbs can be used solely, doubled or in pairs (Iskhakov, PaTmbakh, 1961: 460). Among the verbs which were included in the analysis, there are several examples of double and paired use. For example, the verb kyybyngna is paired with the verb imilee `to swarm' (TRD, 1968: 206):

'Хаан кижиниц ара-албатызы / Кара богбаны / Мойнунга уш ораай каккаш, / Олуг доцнук-биле доцнап-баглап каан, / Адырар дээш, / Чежип чадап каан, / Имилээн-кый- мыцнаан турар бооп-тур эвеспе аан (THL, 1997: 166).

«The Khan's servants, / To let the iron horse graze, / Clutching and pushing, it turns out, / They tried to untie it / [The reason] why the black shear, / Three times around the neck [iron horse] was wrapped / And tied with a dead knot» (THL, 1997: 167).

The verbs doytuy and dyrysh are used twice:

'Куу бутту куду / Куу даяцгыыш даянып алгаштыц, /Куу даштыг/Кыр тон кедип алгапггыц, / Куу шоодай / Чуктеп алгаштыц, / Дойтуцайнып-дойтуцайнып кылаштап, / Кире-ле бергей мен / Хаанныц еендуве / Дырыжаш-дырыжаш, / Чолдаш- талдаш кире-ле дуже бергей мен' (THL, 1997: 74).

«Dressed in an old-fashioned manner/ With a gray top, / With a thrown behind the back / Gray bag, / Leaning on a gray stick / And limping slightly, / I'm down the gray spur descending [going down], / I will come to them [into the aal] / Angry and furious/ Trembling and shaking, / I will enter the Khan's yurt» (THL, 1997: 75).

The verb elengnye is used once and in terms of paired use, there are examples with the verb tendingeier:

'Кевей амытан квруп турда, / У с далайныц кыдыында, / Узун-Сарыг хаан катымныц аалынга / Элецнедип- тендицнедип / Чеде берген уецде барып, / Изиг екпецни / Орттендир-хуюкталдыр / Хаарып, быжырып тургаиггыц, / Олурер мен...' (THL, 1997: 134).

«Arzylan-Kara / Turned / Into a lousy black shear, / Who is about to die. / Having become miserable, insignificant, / [Hunan-Kara] rode / With a small bowl, / Swinging-swaying / In stirrups made of wood / On a badger made of badger skin» (THL, 1997: 135).

and the verb khalangna:

Халацнады-элецнеди / Керуп чортуп- даа олурган иргин ийин' (THL, 1997: 260).

«Swinging, swaying, / Riding, watching [Hunan-Kara] makes his way» (THL, 1997: 261).

Due to the lexical and semantic analysis of image-forming verbs, the exact equivalent in terms of the stem structure and semantics among the revealed image-forming verbs was found only in the Yakut language verbs kuibangnaa `wriggle, wag, smoothly bend' (BEDYL, V. 4: 440) and the Tyvan verb kiybyn- gna `to fidget, spin; move' (TRD, 1968: 275).

Functions of Image-Forming Verbs in Epic Texts

1. Image-Forming Verbs in Olonkho

In the course it was revealed that the image-forming verbs of the Yakut language in the epic text are involved in the description of nature. In most cases, image-forming verbs are incorporated when expressing ideas about the nature of the Middle World; they are often given in the introductory part of the epic text, where an initial depiction of life on Earth is presented. For example, the verb meteldzhiy `bend forward, exposing the stomach' (Kharitonov, 1954: 293) participates in the description of pines:

'Мэссээн нууча кыргыттара / Биэлэй кувх солкоттон тутуНан / Биэрэк сиргэ киирэннэр ункуулээн / МэтэлдьиНэн эрэллэрин курдук /Бэрдьигэс мастаах эбит ээ (Burnashev, 2013: 16).

«Just like smart / Russian girls, gathered / On the shore, holding on / For white and blue shawls, / Moving their hips side to side, / Having a round dance, / Grow magnificent pines».

The verb laglaldzhiy 'from verb laglay: to have a low-positioned, wide, and spreading crown; to be short, stout, and equally wide (when referring to the form of smth, someone's complexion)' (BEDYL, V. 6: 72) is mentioned in an example that colorfully depicts a picture of a birch grove:

'Бу ойуур унуоргу вттв - / Ханалас yлyyhyн дьахталлара / ДьааНыктаах. хампа солколорун / Хаалларбакка таннан, / Урууга, ыНыахха бардыбыт диэн / Бааралаан хаамсан, ЛагладьдьыНан иНэллэрин курдук / Арыынан алла турар / Арыы чаллах чараннардаах эбит( (Burnashev, 2013: 18).

«Behind this dense forest - / Not Kanga- lass women / Did leave in crates / Treasured silk outfits, / Dressed up for Ysyakh, / For a rich wedding, / Go slowly, flaunting - / That's filled with the oily smell and grace / The birch grove smells so sweetly».

During the struggle of the warriors with the help of image-forming verbs the changes taking place in nature are depicted, especially in the seas and rivers, which create a feeling of excitement, experience and transmit the power of the struggle. For example, in the extract with the verb dolguldzuy `1. slightly worry, ruffle; 2. slightly, measuredly flutter; 3. jolt, jerk to swing, stagger, shake; 4. smoothly walk, move, swim; 5. smoothly transition from one state to another; move smoothly' (BEDYL, V. 3: 154):

'Таас Таалыйа хонууну наймылдьыттылар, / КыНыл кыппыайка быНыттан тустэ. / Улуу муора уута долгулдьуйа турда, / Далай муора уута дьалкыйан таыста (Burnashev, 2013: 128).

«Rocky field of Taalyiya / Was plowed with heavy legs, / Red sands spread; / The great sea was excited, / Deep ocean water / Rises above the coast».

- the size and crushing nature of the battle can be felt.

Special focus is given to the creation of an image of the sacred tree Aal Luuk Mas, as part of nature. The beauty and greatness of the Aal Luuk Mas also affects the beginning of olonk- ho. The author uses various methods of transmitting the expressivity and imagery, including image-forming verbs. In the example:

'Тойон киНи кымыс иНэр / ОНуор ойуулаах, / Бочугурас ойоурстоох, / Томторррлоох айахтаах / Чороон ымыйаларын / Таннарыта туппут курдук / ЛоНуор квмус туораахтаах эбит. / Бу а$ыс салаата / А$ыс ааттаах урэх баНыгар тиийэннэр / Таннарыта намылыНан туспуттэр эбит( (Burnashev, 2013: 20).

«As if hung overturned, / Festive chorons, / With carved edges, / With patterned sides, / Out of which koumyss is drunk / Famous gentlemen, / With large acorns. / These eight branches, / Having reached the distant sources / of the Eight Great Rivers, / Bent down», the verb namyliy `mix, go down, creep' (Kharitonov, 1954: 293) conveys the meaning that the branches of the sacred tree have grown so much that they have become heavy and long, but at the same time the tree retains its sophistication.

Incorporating image-forming verbs also extends itself to the descriptions of natural phenomena and the seasons: the verb unaarys gyn `from verb unaariy: to lay flat, to stretch out; to move, or to act too slowly' (Kharitonov, 1954: 300) helps to reveal the emergence of smoke from a cloud:

'Бу турдагріна бу былыт / Оттотунан дьеле ыстанан хаалла, / Тебетцнэн хайы баран хаалла. /Халлаан тует еттун диэкки / Тует хамса буруота буолан / Унаарыс гына туспутэ (Burnashev, 2013: 41).

«A black cloud / Splits in the middle / Into four horizons, / Like from a clay pipe, / From a cloud pulled / Fast smoke».

The verb sandaarys gyn `emit, radiate, spread bright light; stand out in explicit bright color' (BEDYL, V. 8: 226) is present in the passage where lightning appears and its emergence is being described:

'Халлаан алын уоррртын диэкиттэн / Сурдээх суунэ улахан / Сааллар ча^ыл^ан уота / Таннары сандаарыс гына тустэ (Burnashev, 2013: 75).

«Along the edges of the sky / Lightning has struck».

In addition, image-forming verbs are involved in the description of the characters and their actions. Thus, the verbs uokey `to be slim and slender' (BEDYL, V. 12: 469); biekey `to be very thin at the waist, slim' (BEDYL, V. 2: 348) and daray `have, broad shoulders; seem to be broad-shouldered' (BEDYL, V. 3: 108) are used to create a portrait of the main olonkho character - the aiyy bogatyr Dyyray, the Son of the Horse:

'Баар эбит, догрор, / Урдугэ ус бэчээтинэй утуе кики, / Алын тилэгр быкыйга быкыылаах, / Оттоку унуо^а бодьуйга боруобалаах, / Урут унуогр модьугамессуеннээх, / Ус тукэ кэбикэ былас / Ункэйэр еттуктээх эбит, / Биэс былас биэкэйэр бииллээх, / Алта былас дарайар сарыннаах, / Суллаабыт тиит курдук сотолоох, / Уолах мас курдук уллуктаах, / Хастаабыт мас курдук харылаах, / Бысталаабыт тиит курдук былчыннаах, / Сыарррлаах от курдук / Сырыылаах сырайдаах' (Burnashev, 2013: 32).

«It turns out there are friends: / Above are three printed / Good fellow, / Judge by the heels - / The runner is excellent, / Middle bones are thick, / See, strong man, / On three swing fathoms / High hips, / On five swing fathoms / Thin waist, / On six swing fathoms / Broad shoulders turned around, / Shins are like bare stumps/ a strong larch, / Wrist bones are like decks, / It's like a chopped-off trunk / Mighty tree - muscles, / As if they put ten skins / Fire-foxes, cheeks burn».

The verb kilbey `to illuminate, shine; radiate, sparkle' (BEDYL, V. 4: 93) is used to create a vivid image of the aiyy hero Toyon Joburuontai:

'Киис тириитэ килбэйэр / Дайдаралаах сагыньньагын нэлбэгэйдии кэппит, / Уус тириитэ уллук са$а / Бэргэкэтин кырыыбалыы ууруммут / Айыы кикитэ ааттаага быкыылаах, / Атын илиитигэр сиэтэн баран / Аргыый аїри айгыстан икэр' (Burnashev, 2013: 122).

«From the east / There is a person of unprecedented beauty, / With a beautiful appearance, / With a special purpose, to see, / The best of aiyy people, / an excellent son of the sunny ulus, / Silver reins of a horse / Threw on his right elbow, / Holds in his left hand / A silver cane, / A fur coat with expensive folds/ Made of lynx skin / Put on an open door, / A tall sable hat / Put on leaning to one side slightly, / Leading a horse with the reins/ Walking in an important manner».

The verbs kultey `to be swollen, inflated; stand out pout, increased in volume in a rounded shape; be convex, bulging' (BEDYL, V. 4: 609) and sallay `thicken to the top or have a thickened front end; to have a disproportionately large head, to be big-headed; to be huge in size, such that the head seems disproportionately large' (BEDYL, V. 8: 198) are used to create an unpleasant appearance of the abaasy (evil) hero:

Барыта марба кики быкыылаах, / Тегуруччу етте туес ба^адъы кики, / Тула етте эргиччи ис быкыылаах, / Курдат- ненуе куттах быкыылаах, / Чаан-олгуй сар>а саллайбыт бастаах, / Чааскы са^а култэйбит харахтардаах кики эбит (Burnashev, 2013: 81).

«Naked man of disgusting appearance: Around the body his chest winds, / And the stomach surrounds the entire body, / the stomach is seen through. / The head is like a big tub, / Like big cups, / Are the rotruding bulging eyes».

The verbs korongnoo `from verb koroy: 1. to be or to seem sticking out; 2. colloquial form of: to become taller, to grow' (BEDYL, V. 13: 602) and tomtoldzkuy `from verb tomtoy: be or appear to be distinct, rounded, to stand out' (BEDYL, V. 10: 444) are presented in a detailed description of the hero's movements when he is about to speak:

Итиниэхэ Сылгы уола Дыырай тыл кэпсии / Ореебут уокун екуллэ, / Хоммут уокун хомуйда, / Алтан дъаакыр айаууш аппаннатта, / Трун кемус суелэгэй куемэйин кебуелэттэ. / Уока хоронноото, / Уолуга томтолдъуйда, / Унуу батас курдук / Утуру-батары керен кэбистэ, / Быках хатат курдук / Быка-така керен кэбистэ (Burnashev, 2013: 53).

«To this creature ugly as sin/ Dyyray, the strong man, the Son of the Horse / Speaking, / He opened his mouth frozen, / Copper like an anchor, his mouth / Opens, with a silver larynx /He moved and then stuck out his lips, / His throat rises, / Glanced sharply with his eyes, / As if with a sword blade, / As if going to immediately / Cut and shred the enemy into pieces».

The verb maadzay `to obtain a bent leg' (BEDYL, V. 6: 176) in the comparison is used in characterizing the actions of the warrior Dyyray during the battle against the abaasy warrior:

Бикиги кикибит буоллаына / Икки сотото / Тардыылаах оуус буула^атын курдук / Таннары маадъайан тукэн барда, / Иэнин иниирэ киил мас курдук / Кэдэрги тардан барда, / Хатан мас курдук / Ханаччы тардан барда, / Чанчыгын батта^а / Чоноччу тардан барда (Burnashev, 2013: 57).

«Our person's / Two legs the size of two shins, / As the yoke of the ox carrying / The heavy cart is bent, / The veins of the back are shortened, / The body bends upwards, /Like a bent and curved tree, / Hair on the temples / Stand upright».

The verb ayЪaldzkiy `smoothly and widely scatter, sway' (Kharitonov, 1954: 285) is used to describe the appearance and body movements of the beautiful Aytaly Kuo:

'Эт бутэй унуо^а кестер, / Унуох бутэй силиитэ дъаккыйар, / Учугэй дъахтар, / Кессуе-кессуетук керен барда, / Нарын- нарыннык санара сырытта, / Астаан- уеллээн айбалдъыйан барда, / Куестээн- астаан куегэлдъийэ сырытта (Burnashev, 2013: 116).

«Bones turn white through the body, / Through the bones it is clear that she is worried/ The bone marrow - this is how charming she is, / Looking wither tender gaze, / Says something in a quiet voice, / And starts cooking, / Moving so gracefully».

There are several examples in the text of riding a horse with the verb dzkigikiy `to come into a rocking movement, to shiver, to shutter' (BEDYL, V. 3: 333), for example:

Атын урдук мындаатыгар / Трун туллук курдук / Олорон чемчеерус гына тустэ, / Соуруу диэкки барбытын курдук / Баран истэ. / Сиэллэрэн дъигикитэн истэ, / Хаамтаран халыкытан истэ, / Уурдаран оуустаран истэ (Burnashev, 2013: 88).

«... and on a horse / As easily as a white bird, / He jumped up, directed as before / To the south. He rides fast with a trot, /Moving quickly, /And galloping».

The verb appangnaa `from verb appai: 1. to open slightly, not close completely; 2. carelessly wide-open mouth' (BEDYL, V. 1: 505), which is used mainly in determining the actions of a person, in this case, is used in the description of the horse's actions:

'Бу сылгы / Уекэ диэкки ере керде, / Алтан чаанънъык айаууїн аппаннатта, / Уру/г квмус увлэгэйин квбувхтэттэ, / КиБи-сувБу увскуу илигинэ, / Айыы-буруй таарыйа илигинэ, / Сылгы сувБу тыллаах эбит, / Тыл бврв сиикэйдээх, / Олонхотун олонхо омуннаах, / Ити сылгы санара- инэрэ турда (Burnashev, 2013: 84).

«The horse looks up to the sky, / I opened my mouth like / Copper teapot, / I pushed it with a silver larynx. / Before the great breeding / Of the people and cattle, / Until sins took over the world, / Horses could speak / (There is no tale not to lie. / Olonkho makes a wide use of exaggeration. / The horse began to speak».

The actions which are specific to the image of the cow-woman - the Old Woman Simehsin are expressed using the image-forming verbs eppengneie `barely breathe, breathe' (BEDYL, V. 15: 267), appangnaa `from verb appai: 1. to open slightly, not close completely; 2. carelessly wide-open mouth' (BEDYL, V. 1: 505) and toytos gyn `from verb toytoy: 1. to be or to seem very small and plump (referring to a person's complexion); 2. to be or to seem very short and stumpy' (BEDYL, V. 10: 424):

'Дъалаана суох санаран барда, / Ыпсыыта суох ыллаан барда, / Этиэн булумуна эппэннии сырытта, / Санарыан булумуна аппанныы турда... / Унан тиэрэ баран тойтос гына тустэ (Burnashev, 2013: 101).

«Jumping excitedly, / Speaking in a hurry, screaming, / Barely catching her breath, / She stomped, jumping in one place... She screamed and fainted».

In addition to the example above, many examples are recorded in the description of the home, the hero's weapons and serge. In the description of the outside image of the hero's dwelling, the verb segeldzhit `slightly lift up, sway' (BEDYL, V. 9: 540) is used to create a heavy, strong-looking door:

'Биир вттугэр биэс уон / Сиэркилэ таас туннуктээх, / Анаар вттугэр арыс уон / Айдаан таас туннуктээх, / Соротох вттугэр торус уон / Свлуудэ таас туннуктээх. /Сиилинэй бухатыыр тэбинэн сэгэлдъитэн киирэр / Сэттэ уон тиБэх эБэ / Тириитинэн тигэн дъаптайан оноБуллубут / Лип-хаан халраннаах эбит (Burnashev, 2013: 31).

«On one side / Fifty mirrored windows, / On the other half / Noisy glass windows, / On the only side / Ninety mica windows, / And the door is heavy / Sewn in skins / Of seventy large bears, / So firmly made, / That the strongest hero / Can only open it slightly».

In describing the ritual tethering post called serge, the verb bachygyraa `to be, to seem very close together, forming a row' (BEDYL, V. 2: 280) is used in the part, which explains the location of the tethering posts:

Торус тойон киБи / Утарыта хаамсан киирэн / Дорообо бэрсэн эрэллэрин курдук / Тойон баабыр сэргэтэ / Бачыгырайан квБуннэ (Burnashev, 2013: 29).

«On the contrary, there are nine / Big tethering posts, / As if nine noble gentlemen / Go towards, greeting / Each other's gracefully».

The verb kylbay `1. to shine brightly; be or seem to be bright or shiny, to glimmer; 2. to shine with a white light, to whiten, 3. to be or appear to be bright or light-colored; to shine with novelty or freshness' (BEDYL, V. 5: 225) is used in the image-forming description of the spear:

'Кытыл унуортан / Кылбайбытынан кэлэр / Кыыс-дъахтар имнээх хааныгар / Хатарыллан оноБуллубут кылааннаах / Хараарар хара дъиэрэнкэй / Унуулэрдээх эбит (Burnashev, 2013: 34).

«Spears, hardened / Covered in blood from the face of a young woman, / Playing with black lightning, overtaking the enemy / From the nearby coast, / It turns out he has it».

The verb oloduy `to look around in all directions, holding his head high; seem energetic, decisive and adventurous' (BEDYL, V. 7: 258) is used in the passage devoted to the fateful sword:

'Унуоргу тыаттан олодуйан кэлэр / Уолан киБи уостаах тииБин хааныгар / УБааран-кэхтэрэн онорбут / Уорааннаах уБун тайба батастаах эбит (Burnashev, 2013: 34).

Blasting from a distant forest / The fatal sword with him / Hardened in blood / From lips and teeth / Young men, dashing / He also has it.

2. The Image-Forming Verbs in Tyvan Epic

The image-forming verbs of the Tyvan language are mainly used to describe the characters and their actions. Thus, the verb davy `bounce with joy' (TRD, 1968: 140) in the extracts found, is used in combination with the verb devi `to dance' (TRD, 1968: 150); the paired verbs devip-davyp / devigip-davyzhip show masculinity and self-confidence of the main character:

a. Узун-Сарыг хаандыва / Хунан-Кара девип-давып, / Мацнап келген туруп-тур эвеспе аан' (THL, 1997: 232).

«Hunan-Kara and, jumping, [hands ] waving / To [the yurt] of Uzun-Saryg-Khan / He ran up, it turns out»;

b. Девижип-давыжып чоруп оргаш, / Дээрниц делгеминге, / Черниц ортузунга / Ужуражып келгештерниц (THL, 1997: 216).

«Jumping, [they] went / Under the expanse of heaven, / On flat ground».

To create a realistic image of an old woman, the image-forming verbs doytuy `walk, limp' (TRD, 1968: 168) and dyrysh `1. to frown; 2. to scorch' (TRD, 1968: 195) are used:

Куу бутту куду / Куу даяцгыыш даянып алгаштыц, /Куу даштыг/Кыр тон кедип алгапггыц, / Куу шоодай / Чуктеп алгаштыц, / Дойтуцайнып-дойтуцайнып кылаштап, / Кире-ле бергей мен / Хаанныц еендуве / Дырыжаш-дырыжаш, / Чолдаш- талдаш кире-ле дуже бергей мен' (THL, 1997: 74).

«Dressed in an old-fashioned manner / With a gray top, / With a thrown behind the back / Gray bag, / Leaning on a gray stick / And limping slightly, / I'm down the gray spur descending [going down], / I will come to them [into the aal] / Angry and furious/ Trembling and shaking, / I will enter the Khan's yurt».

The verb kiybyngna `to fidget, spin; move' (TRD, 1968: 275) is used in combination with the verb imileie `to swarm' (TRD, 1968: 206) and when describing the horse, this verb emphasizes the horse's playfulness, and a strong desire to be set free:

'Хаан кижиниц ара-албатызы / Кара богбаны / Мойнунгауш ораай каккаш, / Олуг доцнук-биле доцнап-баглап каан, / Адырар дээш, / Чежип чадап каан, / Имилээн- кыймыцнаан турар бооп-тур эвеспе аан' (THL, 1997: 166).

«The Khan's servants, / To let the iron horse graze, / Clutching and pushing, it turns out, / They tried to untie it / [The reason] why the black shear, / Three times around the neck [iron horse] was wrapped / And tied with a dead knot».

We see the might and strength of the main character in the following example:

'Сарыг кидис хевенектиг /Багай оолдуц /Баскан буду /Кыймыш-даа дивес, /Керген кара/ Чивеш-даа дивес...' (THL, 1997: 172).

«And for a poor young man / In a yellow felt hevenek / And walking legs / Did not flinch, / And the looking eyes / Did not blink ...», where the verb chivesh-daa means `to blink; flicker, flicker' (TRD, 1968: 531).

The verb kylchangna `to look from underneath (viciously)' (TRD, 1968: 276) shows the discontent and anger of the Khan in the passage:

'Ыыттавас, кылчацайнып керуп

келгештиц (THL, 1997: 152).

«[The Khan] silently looked from under- neath».

The verb saglangayin `to move, sway, tremble' (TRD, 1968: 360) describes the hero's appearance, conveys all the hero's anxiety and the anxiety for his father, but at the same time the determination and courage of the young hero:

'Улуг еенге / Бажыныц коцгураазы саглацайнып, / Балдырыныц эъди ырбацайнып кирип кээрге.Т (THL, 1997: 86).

«And he entered the large yurt / With some ruffled hair on his head, / With his leg muscles trembling».

In one example which was used only once in the text, the verb elengne `1. walk (go) staggering; 2. swing, sway' (TRD, 1968: 612) helps to reveal the image of an old man and an old woman and to understand that they are very old:

'Хунун манап, / Хуурээн даянган / Ийи ирей, кадай / Элецейндир кылыштажы бергештиц, / Хаанныц дужулгезинге баргаштыц (THL, 1997: 110).

«Waiting for their last day to come, / Leaning on a shovel. / And, staggering, they went, / They entered the [yurt with] the Khan's throne».

In another example, the verb elengne is used to depict a picture of a horse-riding:

Хунан-Кара ол чорта бергештиц, / Илби-шидизи-биле / Ийи сыраны тура соккулааштыц, / Ийи чецинге чецнеп алгаштыц, / Элецнедип олуруп-тур эвеспе аан' (THL, 1997: 148).

«Then he went, Hunan-Kara / Using sorcery and witchcraft / He pulled out two poles, / He hid himself in the sleeves / And he rode his horse, swaying, it turns out».

In the text, the verb elengne is indicated in combination with the verb tendingeier `stagger, swing (in case of loss of balance)' (TRD, 1968: 410). Basically, they convey the picture of a hero riding his horse:

Арзылац-Кара-даа / Олур чеде берген / Октек кара богба бооп / Дужуп турган иргин ийин, / Моц ыяш эзецгилиг, / Морзук кежи терепчилиг, / Кызытпа чалыг, / Кыпсынчыг-чаржынчыг амытан бооп алгаш, / Элецнедип-тендицнедип, / Чоруп олуруп-тур эвеспе аан' (THL, 1997: 142).

«Arzylan-Kara / Turned / Into a lousy black shear, / Who is about to die. / Having become miserable, insignificant, / [Hunan-Kara] rode / With a small bow, / Swinging-swaying / In stirrups made of wood / On a badger made of badger skin».

In paired use with the verb khalangna `hang out (about smth.)' (TRD, 1968: 464), the verb elengne also represents riding a horse:

Халацнады-элецнеди / Керуп чортуп- даа олурган иргин ийин' (THL, 1997: 260).

«Swinging, swaying, / Riding, watching [Hunan-Kara] makes his way».

There is an example of a dwelling description: the verb herelden `to radiate, to give off light, emit rays; to spread (rays)' (TRD, 1968: 276) is found in the image of the Khan's house, it emphasizes the beauty and grandeur of the house:

'Дац бажы шара-хере, / Даш бажы кара-шокар хиреде, /Кода-хурээ ортузунда /Херелденип турар алдын бажыц / Косту берген туруп-тур' (THL, 1997: 156).

«When the dawn came/ And the tops of the mountains became crimson-warm, / In the middle of the palace headquarters / the Golden House / Shining appeared».

The last example refers to the description of a natural phenomenon: the verb chyrytky- lash de- `shine, glimmer, flicker' (TRD, 1968: 559) is used to show the speed of time and action - for a moment it becomes light and the interlocutors disappear:

Депкен дег болза, /Демир аъдын мунган дег болза, / Ямбы-дип чырыткылаш / Дээн дег болза, / Дээрдиве унгени-даа кезулбес, / Чердиве киргени-даа кезулбес, /Бар чыткан барааны-даа чок, / Ямбы-дип кара чацгыс / Чырыткылаш дээн дег болза, / Барган уг- шии кезулбейн / Барган туруп-тур эвеспе аан' (THL, 1997: 134).

«He said / And his legs [in stirrups] seemed to be wedged, / I would have sat down on an iron horse, / Yamby-dip seems to be / Lit up for a moment, / But even the appearance of the departing one did not flicker: / It could not be clearly visible whether it ascended into the sky, / It was not visible whether it went underground. / Only for a brief moment / Yamby-dip was illuminated: / He left - and it was nowhere to be seen, it turns out / In which direction [he] went».

It should be added that some verbs, depending on the context, can be used to perform different functions. In the Yakut language, from the verbs found in olonkho, 5 verbs perform several functions: the verb aybaldzhiy is used to describe nature and the actions of a character; the verb kylbay is used to describe the weapons of a hero, nature and a character; the verb chikkey participates in the description of the hero's weapon, the character's actions and the character himself. In the Tyvan language, the verb elengne, as had been mentioned earlier, is used many times and is found in descriptions of the character's actions and in the description of horse-riding.



Conclusion

Thus, we have made a classification of image-forming verbs of the Yakut and Tyvan languages based on the work of L. Kharitonov. Among the indicated verbs in the Yakut language, the verbs of the visual image exceed in number; namely the verbs characterizing the appearance, form and structure of the object; in the Tyvan language, verbs of movement characterizing the manner of walking, movement of the body and parts of the body predominate. This gives us the opportunity to conclude that the Yakut olonkho teller pays more attention to a detailed and figurative description for creating an entertaining plot, colorful images and actions; while the Tyvan epic tale storyteller focuses on movements, the course of actions for creating a lively and bright course of events, and developing the plots. The structure of the image-forming verb stems is analyzed and it is noted that the Yakut verbs are used in their original forms and in the forms created using affixes of specific forms. Tyvan verbs are used in forms based on the use of affixes of word formation derived from verbs and auxiliary verbs. In addition, the Tyvan image-forming verbs both of double and paired use are common. According to the stem structure and the word semantics, only one equivalent was found among the image-forming verbs found in the course of analysis. As a result of the analysis of the functional features of the Yakut and Tyvan image-forming verbs in epic texts, we can note that their peculiarity and general features are manifested in their direct participation in creating images, describing the scenery, characterizing actions and transmitting feelings.



References

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