Telling story in ashiq tradition in Tabriz

The ashiq story telling (ministrel epics) that forms all the futures of the rich cultural oral epic traditions, with it's mythological frames and expressions is known to be the foremost important branches of the Azerbaijani oral narrative epic traditions. The ashiq demonstrates his unique epical performance with his stance, voice tone, body gesticulates, facial mims, and his relashionship with the audience. The ashiq, dedicates his title as the primary representative of the Turkish culture by enriching his oral performance using all the resources provided to him by the Turkish language proverbs and idioms. Our study "Story Telling Ashiq's Tradition İn Tabriz (Narrative)" consists of texts and words in six chapters. We have underlined its simulation to nowdays epics considering its historical development after giving knowledge about topic, aim, scope and research area. We have emphasized the motif similarities in the epic topics developments from the historical perspective by giving examples from each period after separating The Turkish Epics to three parts as pre-Islam, post-Islam and recent era. In the section "A View To Ashiq's Epic Expression Traditions" we discussed about the historical sources of epics and it's effects over national consciousness, after including information's concerning ashiq's epic expressions in the Turkish world, epical expression in Azerbaijan, the common feautures of ashiqs, the structures and classification's. In the second part of our study, we gave a general overview to the relation between master-apprentice under the headings of, dreaming motif, taking pseudonym and playing saz. After then, information's of classification's of Azerbaijani and Tabriz ashiq's, cultural activities, epic expression tradition's, epic expression occasions and epic expression tradition's are explained. In our third chapter "Tebriz Ahiq's Epics", after noting the importance of the ashiq's entering upon there epics and heading words, information's concerning epic expression occasions and environments are discussed. It is determined that ashiq's held tasks in many occasions and ceremonies like weddings, name giving, coffeehouses, circumcision, recruitment and burial ceremonies. In this chapter, before starting epic expression, traditional (opening the saz) or taking the saz out of its covering is described, ashiq's; choosing the epic with their audiences, having a break for the changes that the ashiq will make in the epic, and information's of the relations between audience or listeners-expressional and listener crew are given. We have placed data of summaries from epics and plotlines compiled from Tabriz ashiq's. In the fourth chapter, after giving information's concerning ashiq epics, models, poetical, prosaic and commixture epics, taking pseudonym, quadrates, dactyls and stops of poems are discussed. In our fifth chapter "Models in Ashiq Story" expression phrases used by the ashiqs during there performance of oral epics, starlings, gap or brakes and endings are evaluated. In this chapter, archaic vocal's, word squads, native words and repeats are noted. In our sixth chapter, music instruments used generally during epic expressions such as saz, balaban, tef and kemenche are discussed. Later on, time, area and persons in the epics of ashiq's are discussed. These informations are performed on the Shikari epic wich holds an important place in Tabriz epic traditions. In the seventh and last chapter, story that we compiled from Tabriz ashiq's are converted to the common Turkish alphabets. The stories that are transferred are: The Story of Amir Arsalan Rûmî, The Story of Shah Ismayıl, The Story of Tufarganlı Abbas & Gulgez, The Story of Valeh & Zernigar, The Story of Seyyad & Sedef, The Story of Tahir & Zuhre, The Story of Mehemmed & Gulendam, The Story of Behram & Gulhandan, The Story of Ali Shah, The Story of Baba Leysan, The Story of Aslı & Kerem, The Story of Koroglu, The Story of Mansum & Dilafruz. Keywords: Tabriz, ashiq, ashiq's tradition, story.