• White Tent (
Ağ Otaq in Azerbaijani Turkish) - the white tent or
yurt where the parents with sons sit is symbolic of purity and innocence. Here, white represents purity and innocence, and simultaneously serves as an indicator that the individual has never committed any sins during their past life as a farmer. Perhaps, it could be considered a sign that
Allah rewarded those who performed righteous deeds in the past and, as a result, a son was born to continue their lineage. The son will be a shining future for society. He is a warrior and has the duty to protect his own people. The warrior figure in the Oghuz Turk society is essential for the community's survival, the continuation of lineage, and for a prosperous, vibrant, and secure life. Not having a son is also a tarnishing of one's reputation. In Oghuz society, gaining a reputation requires a man to prove his strength under difficult conditions. • Red Tent (
Qırmızı Otaq in Azerbaijani Turkish) - or
Qırmızı Otaq is the yurt where parents with daughters sit. In the Oghuz society, having daughters symbolizes productivity and abundance. Despite possessing qualities such as being educators, shaping society in terms of education and social aspects, and serving as the cultivators of the next generation, daughters are also in a vulnerable position to external threats. • Black Tent (
Qara Otaq in Azerbaijani Turkish) - is the yurt, where parents without children are guests, signifies poverty and deprivation. Childlessness is indicative of a futureless, finite, and constrained existence. In this context, the black color represents death. While the white tent ensures the continuation of both lineage and reputation, and the red tent secures the continuation of the lineage, it does not guarantee the perpetuation of reputation. On the other hand, the black tent represents the end of both, reputation and lineage. •
Khizir - in stories, heroes solve some obstacles with their intellects, while they overcome others with their physical strength. When heroes face difficulties, are unable to resolve their problems, and do not know how to overcome the obstacles and challenges they encounter, in short, when they succumb to helplessness and despair, there is always a wise figure, a shaman, a Khizr, coming to their aid. In
shamanism and
Alevism in Anatolia, it is often encountered with the name Khizr, and it can be said that the "spirit of nature" or that humans are created "from their own light" is present in these beliefs. • Shadow (
Kölgə in Azerbaijani Turkish) - It manifests itself as the hidden aspect of oneself lying in the depths of the psyche, often exposed to change and initiation. "The shadow is the opposing force that allows the hero to progress and become more competent in the process of individuation". Appearing as forty treacherous individuals in the form of shadow archetypes, in reality, it symbolizes the cunning sentiment Dirsə Khan feels towards his son, who is perceived as a threat. This sentiment is represented by resorting to deceit, speaking falsehoods, and ultimately ordering the killing of his son to protect his own interests. By avoiding questioning and easily sacrificing the son, whom he obtained as a gift through sacrificing animals and praying, Dirsə Khan, who has shielded himself from this sentiment, demonstrates his weakness. Here, the shadow prevails over the light, and Dirsə Khan, who is considered an "alp type," succumbs to his weakness. • The Mother's Milk" (
Ana Südü in Azerbaijani Turkish) and "Mountain Flower" (
Dağ çiçəyi in Azerbaijani Turkish) archetypes belong to the primary ethnic-mental archetypes in
Azerbaijani Turks archaic thought. In terms of mythological semantics, "The Mother's Milk" not only represents motherhood but also serves as an archetype for the associated maternal cult. On the other hand, "Mountain Flower" is a symbolic representation of the general nature cult, specifically encompassing mountain and plant cults within the context of the narrative. ==References==