Abstract:
The image of the myth in the epic of the Turkic peoples is preserved in the
function of auxiliary characters. The plot, motive, and mythology of the myth have a
structural meaning at different levels of the epic, as well as the image of the characters
and the burden on them. Among them are a tulpar, an auxiliary, a hero's wife, or a girl in
love with him, a ghost, a saint, a fairy, a diyu, etc., who saves the hero from trouble. It is
no coincidence that in the heroic epic the hero's spirit is associated with the cult of
ancestors. Because it is a myth that the source of unparalleled strength and courage is
realized through this arrow. At first, the protagonist, although he is alone and alone,
walks alone, attacks the enemy alone and goes on a campaign. If this model repeats the
image of a mythical hero acting alone, then he performs a feat that an ordinary person
cannot do with the help of an auxiliary character (spirit), which is in line with the same
mythical logic. The problem here is not only that the supporting character is in a mythical
image, but also that the pattern of action of the epic hero repeats the mythical model. This
is a sign that both the skeleton of the myth and the system of images are repeated in the
epic. Of course, it is obvious that epic has changed and adapted to nature. We notice that
the image and activity of the auxiliary mythological characters in the heroic epos of the
Turkic peoples relate to the history of the formation of the epic genre. They are in the plot
of the epic together with the protagonist of the epic. Actions and concepts such as
ancestral cult, communication with other worlds, the help of heroes to help the hero to
win, to achieve his goals are derived from the model of myth.
