The Memorial Feast for Kökötöy Khan: A Kirghiz Epic Poem in the Manas Tradition

As a Kyrgyz intellectual deeply versed in our nomadic culture, oral traditions, and music, I am delighted by Daniel Prior's English translation of “The Memorial Feast for Kökötöy Khan.” This pioneering work, the first on Kyrgyz oral literature published by Penguin Classics, is a testament to Prior's exceptional translation skills and his astute decision to partner with a renowned publisher, thereby introducing the monumental Manas epic tradition to the English-speaking world. The text, originally recorded from the celebrated manaschy Saghïmbay Orozbaq uulu, is replete with rich insights into the culture, history, pastoral life, social structure, ethnic and religious politics, and other facets of nineteenth- and twentieth-century Inner Asian/Kyrgyz nomads. This translation offers readers a unique lens to explore this world through Saghïmbay manaschy's rich poetic language, fantasy, and imagination.“The Memorial Feast for Kökötöy Khan” is a vital and popular segment of the epic Manas. This epic, central to Kyrgyz national identity and culture, continues to thrive in oral tradition, unlike the ancient Homeric epics. In Kyrgyzstan, major cultural events and national celebrations often commence with a live performance from Manas, echoing the popular saying, “Bashkany koyup Manasty ait!” (Leave everything aside, talk about Manas!). This tradition is not only a nod to cultural pride but also a homage to the unifying hero Manas, who is believed to have united the scattered forty tribes and to have built a nation from different ethnic groups and peoples. The traditional epithet for hero Manas is “Kulaaly taptap kush kyldym, Kurama jyiyp jurt kyldym” (I trained kites and turned them into hunting birds; I gathered different tribes and created a nation).1Understanding the cultural significance of the memorial feast, or ash, is crucial in appreciating this work. Far from being an archaic practice confined to epic tales, ash is a living, vital tradition in formerly nomadic Kyrgyz and Kazakh societies. This ritual, symbolizing respect for the deceased, is considered mandatory and falls traditionally upon the youngest son.2 Saghïmbay manaschy's emphasis on this practice underscores its deep-rooted importance in these cultures. The ash is the final and mandatory ritual to pay respect to the deceased person and to end the mourning period for living relatives. It cannot be omitted. In Kyrgyz nomadic culture, it is important to maintain one's reputation in the community and among the kinsmen. In the text, Saghïmbay emphasizes the importance of offering ash among the Kazakhs and Kyrgyz saying: “Kazakh, Kyrgyz ash bergen, Ash berbei kalgandy, Adam emes degen” (The Kazakhs and the Kyrgyz offered ash [for the deceased]. A person [relatives] who did not offer an ash for the deceased was not considered to be a human).3 This is still a widely held belief among the Kazakhs and Kyrgyz. People are concerned with appeasing the spirit of the deceased because of the belief that if the spirit is not respected and content, the living relatives will not prosper.Kökötöy Khan's concern for his burial and subsequent ash, as depicted in the text, reflects the deeply ingrained tradition of fulfilling one's kereez, or testament. His detailed instructions, provided to his counselor Baimyrza (how and where he should be buried, when and where his ash should be held, who should be invited, how they should be treated and hosted, who should lead the ash, and what kind of prizes should be given to the winners of the traditional manly games),4 underscore the meticulous planning and social considerations integral to these rituals. The text's first chapter showcases the unique storytelling style of Kyrgyz epic reciters, focusing on the intricacies of actions rather than just the actions themselves. Kökötöy Khan was a wise, respected khan with immense wealth and a great political reputation in the global community of his time. Therefore, he was very concerned about the importance of having a proper burial and memorial feast. The “digressive” (xxxii, “How to Read the Epic”) first chapter is therefore not a random rambling of the manaschy. Professional oral poets and epic singers like Saghïmbay draw their inspiration from their audience and try to impress their viewers by focusing more on the process of the action where they can demonstrate their creativity and improvisational poetic skill.5Offering ash involves careful planning and consultation with elders and tribal leaders both in former times and today. A respected person in the community who has strong leadership, management, and communication skills is appointed to lead the ash. Ash involves inviting, hosting, feeding, and entertaining many people from far and near places. The way people are invited, fed, and treated during ash reflects the status and reputation of the deceased person and his family, kinsmen, and tribal group in general. Therefore, the leader of ash must be well informed of the delicate traditions to not offend the guests.Furthermore, the tradition of kabar berüü/kabar aituu, or informing people about a death and inviting them to ash, highlights the cultural emphasis on inclusivity and respect. The elaborate ceremonies, including the hosting of important guests and the distribution of prizes during traditional games, reflect the deceased's status and serve as a significant social event for reconnecting and celebrating community bonds. People who know the deceased well get offended if they are not invited to the ash.Manas epic performance is a one-man theatrical show, where the singer acts out the story. “The Memorial Feast for Kökötöy Khan” is a dense text that requires a lot of contextual information and analysis to comprehend the epic. The epic characters and their personalities, appearance, horses, and armor are all described in oral formulaic language, which is characteristic of oral epics of Central Asia. Prior has shown commendable dedication in his translation, providing essential explanations and interpretations for each chapter. His mastery in translating while preserving the original's vivid imagery, and his inclusion of useful contextual information, such as “How to Read the Epic” and “Introduction to a Reading of the Tradition,” are praiseworthy. His insightful comments on Saghïmbays creativity and word choice further enrich the translation. What the readers are missing in the English translation is the full picture of the original live performance of Saghïmbaymanaschy. To experience the Manas epic authentically, the reader must come to a live performance to see the uniquely syncretic nature of the performance where one can see and feel the singer's energy, emotions, facial and body gestures, fluctuating voice, and masterful composition of rhythmic and rhyming verse lines based on pure improvisation. In other words, the oral epics of Central Asia, especially Manas, were not meant to be read silently, but to be sung out loud to a live audience.While this translation is a monumental achievement, it would have been best to incorporate more relevant illustrations for the chapters of the memorial feast and additional appendixes discussing Islam's influence on Kyrgyz nomadic society and culture. Such additions would provide a fuller understanding of the epic's context, and the ethnic and religious geopolitics among the Kyrgyz, especially given Saghïmbay's references to Islam and his religious background. The coexistence of Islamic and pre-Islamic religious beliefs and practices in Manas epic tradition and Kyrgyz culture remains one of the most contested topics and issues in modern Kyrgyz society.In summary, this translation is a significant contribution to Kyrgyz epic tradition and nomadic heritage. It not only allows English readers to delve into Kyrgyz oral epics but also sets a precedent for future scholarly studies of Manas and other Kyrgyz epics. I strongly believe that the Kyrgyz translation of Prior's analytical sections would further enrich Kyrgyz scholars’ understanding and spur new discussions. Prior sets a great example for other scholars by providing in-depth academic inquiry that is critical for examining epic landscapes with multilayered plots. I extend my gratitude to Prior for this remarkable step in sharing our treasured oral heritage with the world.