History of Kazakh literature. Kazakh literature: past and present. Contemporary literary creativity

KAZAKH LITERATURE– literature in the Kazakh language, created by Kazakh authors on the territory of Kazakhstan from about the 15th century.

In its modern form, the Kazakh language was formed and acquired its own grammar in the 19th–20th centuries, but the roots of oral folk art go back to the deep past. The forerunners of Kazakh literature can be considered the authors of medieval works in Persian and Chagatai.

The Kazakh language belongs to the Turkic group, in particular to the Oguz-Uyghur group and to the later Kipchak. In addition, in some areas the Sogdian language of the Iranian linguistic group, as well as Arabic, was preserved for a long time. In the 5th–6th centuries. Turkic-speaking peoples already used runic writing on wooden tablets.

As evidenced by Chinese chronicles of the 6th–8th centuries, the Turkic-speaking tribes of Kazakhstan already had an oral poetic tradition, dating back to an earlier period. Legends and traditions about the sacred land of Otuken have been preserved. Dreams of a peaceful life were reflected in the legends about the fabulous Yergen-Kong mountain valley, inaccessible to enemies. Elements of epic poetry (epithets, metaphors) are found in the Orkhon monuments - the texts of the tombstone steles of Kultegin and Bilge Kagan, telling about the events of the 5th–7th centuries. Kultegin's inscription preserves the motif of ancestral ritual poetry, which later turned into epic - mourning for the deceased.

On the territory of Kazakhstan, famous ancient epics in Turkic languages ​​developed - Korkyt-Ata And Oguz-name. Orally distributed epic Korkyt-Ata, which arose in the Kipchak-Oguz environment of the Syr Darya basin in the 8th–10th centuries, was recorded in the 14th–16th centuries. Turkish writers in the form Books by grandfather Korkut. Korkut is a real person, the bek of the Oguz-Kypchak tribe Kiyat, considered the founder of the epic genre, the art of healing and musical works for kobyz. The epic consists of 12 poems and stories about the adventures of Oguz heroes and heroes. The Usun and Kangly tribes are mentioned.

Ogyz Kagan (Oguz Khan), who had supernatural power, is the hero of the epic Oguz-name, recorded in the 13th century. Rashid ad Din and later, in the 18th century, Abulgazy. The poem is dedicated to the childhood of Ogyz Kagan, his exploits, victories over the giant, marriage and the birth of sons, whose names are the Sun, Moon, Star, Sky, Mountain, Sea. Having become the ruler of the Uighurs, Ogyz Kagan wages wars with Altyn (China) and Urum (Byzantium), the essay discusses the origin of the Slavs, Karlyks, Kangars, and Kipchaks.

Throughout the existence of the Kazakh poetic tradition until the 20th century. Its obligatory figure was the folk poet-improviser akyn, thanks to which epic works, fairy tales, songs, and poems have come down to us. Kazakh folklore includes more than 40 genre varieties, some of which are characteristic only of it - petition songs, letter songs, etc. Songs are divided into pastoral, ritual, historical and everyday. Poems can also be divided into heroic ones, telling about the exploits of heroes - Koblandy, Er-Targyn, Alpamys, Kambar-batyr and others and lyrical ones, glorifying the selfless love of heroes, - Kozy-Korpesh and Bayan-Slu, Kyz-Zhibek and etc.

In the 11th–12th centuries. At the court of the Karakhanids, the first major works appear - a poem Kutatgu bilik(Graceful knowledge) (1069) by Yusuf Khajib from Balasagun (b. 1015), consisting of 13 thousand couplets. The poem is structured in the form of dialogues, sayings, and edifications. It is based on episodes and legends of the Zhetysu regions, the Issyk-Kul Lake basin and Kashgaria, its characters are real historical figures. The main idea of ​​the poem: knowledge is the only source of well-being for both rulers and people.

Among the nomadic Turkic-speaking tribes of Kazakhstan until the 19th–20th centuries. the unique monotheistic religion of Tengrism (the supreme god Ten-Gri - the sky, the power that rules the world), the cult of mountains - the patrons of the clan, as well as shamanism - were preserved. In the 6th–9th centuries. Buddhism came to the Kazakh steppes ( cm. BUDDHA AND BUDDHISM), the beginnings of Christianity and Manichaeism. The beliefs of the population of medieval Kazakhstan were distinguished by diversity and syncretism. However, starting from the 9th century. the picture is gradually changing. Nomadic pastoralists continue to profess the cult of Ten-Gri, and in settled agricultural areas Islam spreads, and religious literature begins to develop.

During the period of the spread of Islam, the literary language remained variegated and heterogeneous; written literature developed mainly in cities. The works of dervish poets and writers played a significant place in the cultural life of the urban population. One of the most famous was the son of a steppe musician, preacher of Islam Khoja Akhmet Yassawi (d. 1167), author of a collection of poems with religious and mystical content Divani Hikmet(Book of Wisdom). In his work, Yassawi preached asceticism and humility, believing that the path to truth is the path to God. The book contains a lot of cultural, historical, ethnographic information about the tribes of that time. Yassawi's student Suleimen Bakyrgani is the author of the collection Zamu Nazir Kitaby(Book about the end of the world). It tells that during the end of the world everything that exists will perish, but God will create the world again and everything will be reborn again. Over the next centuries, the books of Yassawi and Bakyrgani were mandatory teaching aids in madrassas in Central Asia and Kazakhstan. Hibat ul-Hakayk(Gift of Truth) – the only book by Azib Akhmet Mahmud-uly Yugnek (late 12th century) called for a decent life, hard work, the pursuit of knowledge and humanity.

The earliest works of oral folk art, whose authorship can be considered established, date back to the 15th century. In the 16th century the works of the legendary Asan-Kaigy and the akyns of Dospambet and Shalkiiz were well known in the 17th century. - Akyn of Bukhara-zhyrau Kalkamanov, author of poignant political poems. In Kazakhstan, a tradition has developed of holding song and poetry competitions between akyns - aitys. Genres of songs began to stand out: tolgau - philosophical reflection, arnau - dedication, etc. In the 18th–19th centuries. In the works of akyns Makhambet Utemisov, Sherniyaz Zharylgasov, Suyunbay Aronov, new themes appear - calls for a fight against bais and biys. At the same time, akyns Dulat Babataev, Shortanbai Kanaev, Murat Monkeyev represented a conservative trend, idealizing the patriarchal past and praising religion. Akyns of the 2nd half of the 19th century. Birzhan Kozhagulov, Aset Naimanbaev, poetess Sara Tastanbekova, Dzhambul and others used aitys as a form of expression of public opinion, defending social justice.

Kazakh written literature in its modern form began to take shape only in the 2nd half of the 19th century. influenced by contacts and dialogue with Russian culture. At the origins of this process are the Kazakh educators Chokan Valikhanov, Ibray Altynsarin and Abai Kunanbaev.

Chokan Valikhanov (1835–1865) was the first Kazakh scientist, educator, historian, ethnographer, traveler and diplomat. The great-grandson of Khan Ablai, he was born into a pro-Russian family, studied Arabic at a Kazakh school and became acquainted with oriental poetry and literature. He graduated from the Omsk Cadet Corps, which was a kind of Tsarskoye Selo Lyceum for the Asian part of Russia. Upon graduation, he was promoted to cornet, wore a Russian military uniform, being a Russian officer and official, carried out orders from the tsarist administration.

His duties included the functions of a historiographer and participation in expeditions to Issyk-Kul, Gulja, Kashgar, during which Valikhanov kept his travel diaries, on the basis of which essays were written about the Kyrgyz (as the Kazakhs were called in the 19th century) - about their history , social tribal structure, morals and customs, myths and legends ( Notes on the Kirghiz).

He was the first to record and translate part of the heroic epic into Russian Manas – Death of Kukotai Khan and his commemoration And, folk epic poem Kozy-Korpesh and Bayan-sulu. In his works, Valikhanov paid a lot of attention to the peculiarities of the improvisational art of akyns and the rhythm of Kazakh verse. A number of his studies are devoted to the study of the Zoroastrian roots of the Kazakh mentality and the syncretism of shamanism with Islam among the steppe peoples – Traces of shamanism among the Kyrgyz(Kazakhs),About Islam in the steppe. In the spring of 1861 it was published Sketches of Dzungaria , as well as major works devoted to the history and culture of Central Asia and the East ( Kyrgyz genealogy, About the nomads of the Kyrgyz, Traditions and legends of the great Kyrgyz-Kaisat horde and etc.).

Living in St. Petersburg in 1860-1861 and continuing to work on essays on the history and ethnography of the Kyrgyz, he became closely acquainted with the ideas of Russian revolutionary democrats, communicated and was friends with many representatives of the advanced democratic intelligentsia - F.M. Dostoevsky, S.V. Durov, I. N.Berezin, A.N.Beketov. On the recommendation of P.P. Semenov-Tyan-Shansky, he was accepted as a full member of the Imperial Russian Geographical Society.

Remaining an idealist in his understanding of social life, Valikhanov condemned the arbitrariness of the Kazakh feudal lords and the colonialist policy of tsarism, and spoke out for introducing the Kazakhs to Russian culture.

Ibray Altynsarin (1841–1889) also graduated from the Russian-Kazakh school, worked as a translator in Orenburg, as a teacher and school inspector. At the same time, he sought to open as many Russian schools for Kazakh youth as possible. In 1879, his Initial Guide to Teaching the Kyrgyz Language the Russian Language and the Kyrgyz Reader, which included many of his stories and poems, as well as works by Russian authors translated into Kazakh, were published. His literary activity was of an educational nature and was part of social and pedagogical practice. In works Ignorance, To the treacherous aristocrat he condemned fanaticism and superstition, revealed the reactionary essence of the mullahs, Kipchak Seitkul And Wooden house and yurt convinced pastoralists to engage in farming, in The son of the bei and the son of the poor contrasted the hard work of the poor with the stinginess and greed of the rich. In poems Spring And Autumn For the first time in Kazakh poetry, Altynsarin realistically described the Kazakh landscape and pictures of nomadic life. He also wrote about the powerless position of women in traditional Kazakh society. How a folklorist recorded and published fairy tales Kara batyr ,Altyn-Aidar, legend Zhirenshe-wit, excerpt from the epic Koblandy and much more.

The champion of friendship with the Russian people, the founder of realistic literature, poet and thinker Abai Kunanbaev (1845–1904) was the successor of Valikhanov’s work. His work determined the cultural and educational movement of the late 19th and early 20th centuries and had a huge impact on the subsequent development of the Kazakh literary language.

Kunanbaev received a classical oriental education. In the madrasah of Imam Ahmet-Riza, he studied Arabic, Persian, and other oriental languages, became acquainted with classical Persian literature - Ferdowsi, Nizami, Saadi, Hafiz, etc. At the same time, violating the ban of the madrasah, he attended a Russian parish school. At the age of 28, he retired from performing the administrative functions of the head of the clan, completely devoting himself to self-education. Abai writes poetry, intensively studies Russian culture, and studies in the public library. Acquaintance with Russian political exiles had a strong influence on the formation of the poet's progressive worldview. He translates works by A.S. Pushkin, M.Yu. Lermontov, I.A. Krylov, and foreign classics into Kazakh, and writes Kazakh songs to the words of excerpts from Eugene Onegin. The most famous is his elegy, set to music, Karangi tunde tau kalgyp– poetic translation by Lermontov Night Song of the Wanderer Goethe.

Abai’s literary heritage consists of poems, poems, poetic translations and adaptations, and prose “edifications.” His poetry is distinguished by classical simplicity and elegance of artistic techniques. He introduces new poetic forms - six-line and eight-line: A moment falls out of time (1896),Shouldn't I, dead, become clay? (1898),On the water, like a shuttle, the moon (1888),When the shadow becomes long (1890), etc. His poetry is characterized by a deep philosophical meaning and civic sound. In poems Oh my Kazakhs ,Octagons, That's old age. Sorrowful thoughts, a little sleep...,I'm exhausted, I'm deceived by everyone around me... criticism of feudal foundations sounds. In a collection of artistic and philosophical prose Gaklia(Edifications), touches on historical, pedagogical and legal topics, calls on the people to take the path of cultural progressive development, hard and honest work. Poems dedicated to the seasons are widely known.

Early 20th century became the heyday of Kazakh literature, which absorbed the features of Kazakh, Eastern and European literatures. At this time, the foundations of modern Kazakh literature were laid, and the literary language was finally formed.

Akhmet Baitursyn (1873–1913) was engaged in pedagogical and literary activities - he translated Krylov’s fables, published a collection of poetry popular among Kazakhs Kyryk Mysal and collection Masa (1911). Baitursyn can be called the first Kazakh linguist - he wrote articles in which he advocated the purity of the Kazakh language, its liberation from Russian and Tatar words.

The emerging Kazakh literature mastered major literary forms - novels, stories. Poet and prose writer Myrzhakyp Dulatuly (1885–1925) - author of several poetry collections and the first Kazakh novel Unhappy Jamal(1910), which went through several editions and aroused great interest among Russian critics and the Kazakh public. He also translated Pushkin, Lermontov, Krylov, Schiller into Kazakh, and was an innovator and reformer of the Kazakh literary language. Spandiyar Kobeev (1878–1956) is known as a translator of Krylov's fables and the author of one of the most significant Kazakh novels Kalym (1913).

Writer and journalist Mukhamedzhan Seralyuly (1872–1929), known for his works Top Jargan (1900),Gulgashima(1903), translation of the poem Rustem-Zorab from Shahnameh Ferdowsi, was the editor-in-chief of the magazine “Aykap” (1911–1915), around which progressive creative forces were grouped. Sultanmakhmud Toraigyrov (1893–1920), who collaborated with the magazine, wrote poems and stories on the topics of inequality, he is the author of the novel Kamar Sulu. The magazine also published Sultan-Makhmut Toraigyrov, Sabit Donentaev, Tair Zhomartbaev and others.

The name of Magzhan Zhumabai (1893–1937) is associated with the introduction of new poetic forms into Kazakh versification, and into the Kazakh literary language - a stylistic system that has been preserved to this day. He began writing poetry at the age of 14 and was published in almost all newspapers and magazines in the Kazakh and Tatar languages. IN 1912 His poetry collection Sholpan was published in Kazan.

Shakarim Kudaiberdyuly (1858–1931), nephew of Abay Kunanbayev, was a religious philosopher who attempted to treatise Muslim-shyldyk,sharttars (Orenburg, 1911) justify the tenets of Islam using the logical method. In the same year, he published one of the first works on the history of the Kazakhs - Pedigree of the Turks, Kyrgyz, Kazakhs and Khan dynasties . Shakarim was the author of a large number of poems, poems and prose works. He translated it into poetry Dubrovsky Pushkin, considered Byron, Pushkin, Lermontov, Hafiz, Navoi, Kant, Schopenhauer his teachers.

Religious philosopher Mukhamed Salim Kashimov, known for his works Politeness ,Agitation ,Advice to the Kazakhs ; was also the author of the story Sad Mariam (1914), which condemned the custom of marrying off girls without their consent. In three books published in 1913 Mashgura-Zhusupa Kopeiuly (1858–1931),An amazing phenomenon I saw in my long life ,Position And About whose land is Saryarka the author speaks out sharply against Russian policies and the resettlement of Russian peasants to Kazakhstan.

At the end of the 19th - beginning of the 20th centuries. a group of “scribes”, which included Nurzhan Naushabaev, Mashur-Zhusup Kopeev and others, preached patriarchal views and collected folklore. Nationalist forces grouped around the newspaper “Kazakh” (1913): A. Baitursunov, M. Dulatov, M. Zhumabaev, who after 1917 moved to the counter-revolutionary camp.

After the October Revolution, social motives and themes of socialist construction actively developed in the works of akyns Dzhambul Dzhambaev, Nurpeis Baiganin, Doskey Alimbaev, Nartay Bekezhanov, Omar Shipin, Kenen Azerbaev.

During the Soviet period, the work of the Kazakh folk poet-akyn Dzhambul Dzhambaev (1846–1945), who sang to the accompaniment of a domra in the tolgau style, became most famous in the USSR. Epics were written from his words Suranshi-batyr , Utegen-batyr , fairy tales Khan and akyn,The Tale of the Lazy Man etc. After the October Revolution in creativity Dzhambula new topics have appeared - Hymn to October, My motherland, In the Lenin Mausoleum,Lenin and Stalin(1936). His songs included almost all the heroes of the Soviet power pantheon; they were given the features of heroes and heroes. Dzhambul's songs were translated into Russian and the languages ​​of the peoples of the USSR, received a nationwide appeal and were fully used by Soviet propaganda. During the Great Patriotic War, Dzhambul wrote patriotic works calling on the Soviet people to fight the enemy - Leningraders, my children!, At the hour when Stalin calls(1941), etc. In 1941 he became a laureate of the Stalin Prize.

Combining oral forms with literary ones, Dzhambul developed a new poetic style, distinguished by psychological richness, concrete depiction of social life, sincerity and simplicity of narration.

The founders of Kazakh Soviet literature were the poets Saken Seifullin (poems Sovetstan ,Albatross , Socialistan , stories Diggers , Fruit ), Baimagambet Iztolin, Ilyas Dzhansugurov (poems Steppe , Musician , Kulager ), writers Mukhtar Auezov ( Night rumbles ), Sabit Mukanov (socio-historical novel Botagoz(Mysterious Banner)), Beimbet Maylin (story Communist Raushan, novel Azamat Azamych).

In 1926, the Kazakh Association of Proletarian Writers was created, which in the first years of its existence fought against nationalist manifestations in literature. The almanac “Zhyl Kusy” (“The First Swallow”) (since 1927) and the magazine “Zhana Adabiet” (New Literature) (since 1928) began to be published. In 1934, the Writers' Union of Kazakhstan was created, and later sections of Russian and Uyghur writers began to work within it.

The first to respond to the events of the Patriotic War in Kazakh literature was civil-patriotic poetry - the poem by K. Amanzholov The Legend of the Death of a Poet (1944) about the feat of the poet Abdulla Dzhumagaliev who died near Moscow, poems by Tokmagambetov, Zharokov, Ormanov and others. After the war, novels appeared Soldier from Kazakhstan Musrepova (1949), Courland Nurneisova (1950), Terrible days Akhtapov (1957), memoirs of Momyshuly Moscow is behind us (1959).

In 1954, Mukhtar Auezov completed a tetralogy, an epic novel, that received a response in many countries. Abai's path. Post-war Kazakh literature mastered large forms of the “big” Soviet style, gravitating towards large-scale literary forms - novels, trilogies, poems and novels in verse (Mukanov, Mustafin, Shashkin, Ergaliev, Kairbekov, Muldagaliev, etc.). Drama (Khusainov, Abishev, Tazhibaev) and science fiction (Sarsekeev, Alimbaev) developed.

In the 1970s, the attention of readers was attracted by the book of the Kazakh poet and writer Olzhas Suleimenov (b. 1936 )Az and I (1975), known for his collections Good sunrise time (1961),Over white rivers (1970),Repeating at noon (1975). In it, he developed ideas about the kinship of the Kazakhs and ancient Sumerians, drew attention to the large number of words of Turkic origin in the Russian language, which, in his opinion, indicated the strong influence of Turkic culture on Russian. In a lively discussion that unfolded in the press, Suleimenov was accused of “pan-Turkism” and nationalism.

The late 1990s - early 2000s, the literature of Kazakhstan is characterized by attempts to comprehend postmodern Western experiments in literature and the possibility of using techniques of deconstruction and “thickening” of the text (see POSTMODERNISM IN LITERATURE) - B. Kanapyanov, D. Amantai. The works of famous and little-known authors - Smagul Saduakasov, Kokserek and other short stories by M. Auezov, End of the legend, abyss, Bay horse Abisha Kekilbaya, Time of Troubles, Death of a Greyhound Mukhtar Magauin, stories by Oralkhan Bokey.

The literature of Kazakhstan continues to develop in the context of global civilization, absorbing and developing new cultural trends, taking into account its own capabilities and interests.

Literature:

Zelinsky K. Dzhambul. M., 1955
Creativity of Dzhambul. Articles, notes, materials. Ed. N. Smirnova. Alma-Ata, 1956
Auezov M.O. Abay. Tt. 1–2. M., 1958
Karataev M., Born of October. Alma-Ata, 1958
Akhmetov Z.A. Kazakh versification. Alma-Ata, 1964
History of Kazakh literature, vol. 1–3, Alma-Ata, 1968–1971
Begalin S. Chokan Valikhanov. M., 1976
Mukanov S. Steppe friends. Alma-Ata, 1979
Zalessky K.A. Stalin's Empire. M., Veche, 2000

In the centuries-old history of the development of the artistic expression of the Kazakh people, the 19th century has a special place. Already in the first half of this century, oral folk art was experiencing a period of growth, more and more original individual authors were appearing, and written literature was emerging.

The flourishing of Akyn creativity in the first half of the 19th century. especially significant. Its most prominent representatives not only created new talented works, but also preserved the poetic traditions of the past. Their great merit is that many examples of folk-heroic and social poems of antiquity have reached us.

At this time, Kazakh akyns improved the tradition of improvisation. Improvisation, wit and resourcefulness in poetic competitions (aitys) - this is the school that everyone who claimed the poetic title of akyn had to go through.

With the flourishing of Akyn creativity, Kazakh literature is enriched with new poetic genres, such as epic tales, poems, elegies, political lyrics, songs; The genre of tolgau (reflections) is being improved.

In the first half of the 19th century. In the life of the Kazakhs, significant socio-economic changes occurred due to the voluntary entry of Kazakhstan into Russia. The gradual loss of the khan's descendants of their former advantages, the steady disintegration of the feudal-patriarchal structure, as well as the consequences of the double oppression of the tsarist colonialists and local feudal lords could not but affect the spiritual life of the people and determined changes in the ideological and artistic content of the creativity of akyns and zhyrau (singers).

Some akyns, for example Baytok, Zhanuzak, Nysanbay, Doskhozha, glorified khans and sultans, justified their cruelty, supported feudal-tribal law and order, and idealized patriarchal antiquity. The creativity of two major akyns, Dulat Babataev and Shortanbai Kanaev, is contradictory.

The poems of Dulat Babataev (1802-1874) were recorded only after his death. The only collection of his poems was published by Maulekey in 1880 in Kazan under the title “Osiet-name” (“Testament”). Dulat saw and reflected the contradictions of the era better and more deeply than any of his contemporaries.

Criticizing the feudal-patriarchal structure, he opposed the cruel attitude of the tsarist officials and the new administration towards the local population. However, drawing any side of life, he invariably came to the conclusion that life had not changed for the better, that its happy time was left behind (“From the nomads of Arki’s ancestors”).

Even when Dulat turns to developing the traditional themes of Eastern poetry about the confrontation between good and evil, friendship and hatred, generosity and stinginess, he bitterly mourns the past, claims that young people have ceased to respect their parents, and younger people have stopped respecting their elders. He sees the era in the fact that people's morals have changed so dramatically.

The work of Shortanbai Kanaev (1818-1881) seems to complement Dulat’s poetic heritage. Shortanbay’s only collection of poetry, “Shortanbaydin bala zary” (“The Cry of Shortanbay’s Child”) was first published in Kazan in 1888.

In this book, starting with the poem “Our Forefather the Prophet Adam” and ending with the poem “All is Known to One Allah,” the poet examines the same problems that Dulat drew his attention to, but solves them from an orthodox Muslim position.

According to the deep conviction of the poet, the reasons for the unfavorable socio-economic changes, which entailed changes in the moral and ethical sphere, lie in the fact that the foundations of faith are being shaken, that people have begun to neglect Sharia, i.e., the tenets of the Koran.

However, remaining a deeply religious person, a supporter of feudal-patriarchal morals, Shortanbay in some poems, such as “Bai Cursed by God” and others, truthfully depicts the hard life of the poor.

Akyns Shozhe Karzhaunov (1805-1891), Sherniyaz Zharylgasov, Suyunbay Aronov (1827-1896) were supporters of a different direction, they reflected the interests and needs of the working people, exposed the despotism of the feudal-bai elite.

A special place in Kazakh literature of the period under review belongs to the greatest poet-warrior, fighter for the people's interests, Makhambet Utemisov (1804-1846). Makhambet as a poet is formed in the conditions of clashes and struggles of peasants with feudal lords, khans, and representatives of local authorities.

From a young age, the rebellious poet was constantly at odds with the bais, and became one of the leaders of the famous peasant uprising that broke out in the Bukey Horde against Khan Dzhangir in 1836-1837.

Makhambet’s literary heritage is so closely connected with this uprising that through his poems one can trace all stages of the struggle, from the first steps of the rebels to the tragic defeat.

In the years preceding the uprising, Makhambet addressed the people with fiery poems, calling for them to boldly rise up against the oppressors (“Call to the People”, “A Matter of Honor”, ​​“We Need a People for Our Cause”, etc.).

The poet does not promise people an easy victory, he openly warns that the struggle will be harsh and difficult, and will require great sacrifices and heavy losses. His poems are imbued with confidence in the justice of the intended cause and faith in victory.

Makhambet, as one of the leaders, being in the advanced detachments of the rebels during the days of struggle, directly participating in the hottest skirmishes and battles, at the same time, with his inspired songs and poems, raises the morale of his comrades, supports them in difficult moments.

The poems addressed to the rebels are imbued with a sense of camaraderie, care and sincere sympathy for the heroes who died in battle. His poems “Address to Friends”, “Do not be sad, my friends”, “Valiant Son”, “Happiness will return to us”, with the power of emotional impact, united and inspired the rebels.

In Makhambet's work, the artistic reproduction of the heroic struggle of the people is combined with the disclosure of the social reasons that led to the armed uprising. This is cruel exploitation by feudal lords, khans, bai of workers, weak and poor families, forcible seizure of lands, resettlement of them from their homes, etc.

The poet speaks with pain about how the valiant sons of the people “laid down their lives” and “died in droves.” The poems addressed to the local ruler Dzhangir and Sultan Baimagambet sound angrily. The brave and proud poet calls them wolves, snakes, cowards and hypocrites. Makhambet's poetry is distinguished by its love of freedom, fighting spirit and deep optimism.

Makhambet’s works, created in exile after the defeat of the uprising, although they contain sad notes caused by longing for loved ones, for their homeland, are also full of hope; they have no regret about participating in a popular uprising. He believes that the time will come when the people will deal with the bais (“Appeal to Sultan Baimagambet”).

Glorifying the heroism of the participants in the uprising, for the first time in the history of Kazakh literature he creates the image of a folk fighter-hero. The poet found his ideal in the person of the leader of the peasant movement, Isatay Taimanov.

In the character of Isatai, the poet especially emphasizes his unshakable courage, fearlessness in the face of mortal danger, enormous will and endurance, and most importantly, boundless love for the people, readiness to give his life in the name of their happiness. Makhambet dedicated a series of poems to Issatay, in which the people’s commander is characterized from different sides: as a devoted and worthy son of his people, a support and defender of the disadvantaged, a brave leader, a wise adviser and a good friend of his comrades in arms, and as a gentle, beloved and loving father.

Based on the poetic traditions of previous and contemporary literature, Makhambet enriched it ideologically and thematically. He introduced political lyrics into Kazakh poetry and strengthened civil and patriotic motives in it. His poetry reflects the turbulent era of national liberation movements.

Dominant in Kazakh literature of the first half of the 19th century. there was a democratic direction. It found its most vivid expression in the work of Makhambet Utemisov, becoming the ideological and artistic basis for the further development of literature and anticipating the appearance of such luminaries as Ibrai Altynsarin and Abai Kunanbaev.

History of world literature: in 9 volumes / Edited by I.S. Braginsky and others - M., 1983-1984.

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Most ordinary people know too little about what modern Kazakh writers write about. The literary process has long been a subject of exclusive interest for narrow specialists - philologists and cultural scientists. For the rest, communication with literature was replaced by online notes. However, without communication with literature, the spirit becomes impoverished. Therefore, for those who want to find out what names represent modern literature of Kazakhstan, this article will be interesting.

National literature is a reflection of the soul of the people. The current stage of development of literature is especially interesting, because by what writers write about and how they do it, one can judge the way of thinking of the people and their values ​​at this stage of development.

Many people have the impression that Kazakh literature was mothballed at the stage of establishing the independence of Kazakhstan. However, it is not. Like any sphere of culture, literature is developing intensively, every year discovering new names, new themes and new artistic methods. It’s just that literature is less public than television or show business, it’s intimate. Therefore, to learn something new about it, you need to take an interest.

Let’s restore the information gap and tell you which Kazakh writers represent the modern literary process.

Mukhtar Magauin

He is a famous literary critic and writer. The novels “Spring Snows” and “Shakhan-Sher - the Man - Tiger” are especially popular. The author of these works is known as a folklorist, ethnographer, and translator.

In 2008, Mukhtar Magauin began work on a tetralogy dedicated to the Great Khan of the Steppe - Genghis Khan. Books in this series have been published since 2011.

Based on Arab, Persian and Chinese chronicles, the author reconstructed the life and deeds of the great conqueror. The books present the writer’s interesting observations about the life and development of the culture of the Turkic peoples who settled on the territory of Kazakhstan: their morals, customs, and mentality.

Ermek Tursunov

Writer and film director, author of several novels and a collection of short stories. The novel about the famous commander, Sultan of Egypt and Syria, ruler of the Mamluks - Baybars brought fame to the writer. The historical retrospective of the novel makes us think about who we are, what and why we believe, what values ​​we protect.

In 2010, the book “Seven Days of May” was published - an artistic and journalistic detective story about the Mukhlisov gang. In 2016, the author presented a book of short stories, “Little Things in Life,” written in the style of oral storytelling.

Gulbakhram Kurgulina

A contemporary author who debuted in 2012. Gulbakhram Kurgulina is the author of a series of novels devoted to difficult relationships in the family, the psychology of relationships, and the problems of bigamy: “Baibishe. Senior wife", "Tokal. Younger wife", "Shameless daughters-in-law", "And mother-in-law can be golden."

Her novels in this series reflect the difficult life of Kazakh wives, raise the problem of younger wives - tokal, and concern the problems of psychological comfort and self-realization in the family and the love of a modern Kazakh woman.

These books contain everything that is interesting to modern women - love, self-sacrifice in the name of a loved one, the suffering of unrequited feelings, the difficult path to happiness. The works are written easily. They are distinguished by psychologism and dramatic intensity of events.

Ayan Kudaikulova

Her works are close in spirit and theme to the novels of G. Kurgulina. Ayan takes a philosophical look at the problems that arise in a modern family. Her heroes are the familiar circle of baybishes, tokals, and mothers-in-law.

She raises the problem of polygamy and its consequences not only for the individual, but also for society as a whole. Her novels “Coco's Handbag”, “Carnelian Ring”, “Gardener for Single Ladies” are written easily, but reveal the deep psychodrama of modern women.

Sabyr Kairkhanov

Writer and journalist, was the editor-in-chief of the newspaper “Ak Zhaiyk”. His novel Synchro created a lot of buzz in 2014. This work belongs to the original genre - speculative fiction. Events take place in fictional worlds. The narrative is characterized by an interweaving of mysticism, fantasy and detective intrigue.

At the same time, the writer touches on the enormous psychological trauma that the people of Kazakhstan have not yet experienced - the contamination of the soil and atmosphere with nuclear waste - the sad and destructive events for the ecosystem and anthropology of Kazakhstan at the Semipalatinsk nuclear test site.

Synchro is a deformed reality, a mysterious field that draws in everything around it. To save loved ones, the heroes of the novel sacrifice their lives. The sacrifice is symbolic: it is the sacrifice of an entire people.

Galymzhan Kurmangaliev

The works of this Kazakh poet amaze with their subtle lyricism and psychologism. A deep experience of the dissonances of modernity, the abandonment of man in an imperfect world, its tragedy are features that are inherent in Kurmangaliev’s neo-romantic worldview.

In search of light and all the beautiful feelings

I am a young poet, lost in the dark wilderness...

Zira Nauryzbaeva and Lily Kalaus

The tandem of a culturologist and a writer embodied in an interesting fantasy literary project for children - “In Search of the Golden Cup: The Adventures of Batu and His Friends.” A fascinating, dynamic plot takes modern schoolchildren to ancient times.

Together with the Mussaget prince Aspara, they go in search of the golden cup of wisdom. On the way they will meet mythological and folklore characters. A fascinating story easily introduces children of the World Wide Web era to the cultural heritage of the Steppe.

Ilmaz Nurgaliev

If you want to learn more about Kazakh fantasy, then you cannot ignore the works of this author. His novels of the “Dastan and Arman” series synthesized ancient myths and legends of the Steppe.

A simple fairy-tale plot captures you from the very first turns. The reader will not notice how he finds himself in a medieval fictional world where mythological creatures and spirits reign. Dastan will have to fight with them in order to win the hand of his beloved.

Karina Sersenova

Her writing collection includes lyrical poems (collections “Song of the Heart”, “Towards”, “Universe of Love”, “Looking Through the Sky”, “Inspiration of Life”, etc.), the mystical-esoteric essay “Life for You” and the novel “Keepers of the Path”, books “Breath of the Void”, “Omnipotence of the Path”.

Modern Kazakh poets and prose writers are actively interested in history, the life of the great khans, they subtly feel and experience the tragedy of man in the 21st century - his loneliness, confusion, abandonment, loss in the information space where personality dissolves.

Kazakh writers write in different genres: realistic psychological thrillers, melodramatic novels, fantastic prose, subtle meditative lyrics.

What works of contemporary writers and poets of Kazakhstan resonate with you?

From the depths of time

Kazakh li-te-ra-tu-ra is a pro-iz-ve-de-niya in the Kazakh language, created by Kazakh-ski-mi cars -ra-mi on the territory of Ka-zakh-sta-na from about the 15th century.

In modern times, the Kazakh language sfor-mi-ro-val-sya and acquired its own grammar in the 19th - 20th centuries. , one of the roots of the people's creativity goes deep into the past. Before the Kazakh li-te-ra-tu-ry, one can count the authors of the middle -Sid-skom and Cha-ga-tai-kah languages.

Like the evidence of the Ki-Tai le-to-pi-si of the 6th-8th centuries, among the Turkic-speaking tribes of Kazakh-sta-na to that At the time, there already exists an oral tradition, going back to an earlier time. mu pe-ri-o-du. Legends and stories about the sacred land of Otu-ken have been preserved. How long have you dreamed of a peaceful life, or a legend about a fabulous, inaccessible for enemies, mountain valley of Er- ge-ne-Kong. Elements-men-you are epi-ches-koy in e-zia (epi-te-you, me-ta-for-ry) about-on-ru-li-va-yut-sya in or-khon-skih pas -myat-ni-kah – text-tah of the tomb-steles of Kul-te-gi-na and Bil-ge-ka-ga-na, telling us about their co-beings yakh 5-7 centuries. The inscription Kul-te-gi-na so-keeps the motif of the ro-do-howl about-rya-do-howl in e-zia, which later passed into the epic , - mourning for the death.

Epos

On the territory of Kazakh-sta-na, the most famous ancient epics in the Turkic languages ​​were formed - “Kor-kyt Ata” and “Oguz” -na-me.” The popular epic “Kor-kyt Ata”, which arose in the Kip-Chak-Oguz environment of the Basin on the Syr Darya in 8 -10th centuries, was recorded in the 14th-16th centuries. tu-rets-ki-mi pi-sa-te-la-mi in the vi-de Books de-da Kor-ku-ta. Kor-kut - real face, bek ogu-zo-kyp-chak-skogo ple-me-ni Ki-yat, consider-ta-et-sya os-no-vo-lie -no-com epi-ches-ko-go genre, art-kus-st-va doctor-che-va-niya and musical pro-iz-ve-de-niy for whoever -behind. The epic consists of 12 poems and stories about the similarities of the Oghuz gods and heroes. Upo-mi-na-yut-sya ple-me-na usu-ney and kan-gly.

Ogyz-ka-gan (Oguz-khan), possessed with super-es-test-ven-noy power, is the hero of the epic “Oguz-na-me”, for-pi- San-no-go in the 13th century. Ra-shid ad Di-nom and later, in the 18th century, Abul-ga-zy. In honor of Ogyz-ka-ga-na, in honor of the children’s-st-vu, he-mov-gam, po-be-dam over the ve-li-ka-nom, same-thread-be and the birth of sons, who are called the Sun, the Moon, the Star, the Sky, the Mountain, the Sea. Having become the pra-vi-te-lem of Uy-gur, Ogyz-ka-gan wages war with Al-ty-n (Ki-ta-e) and Uru-mom (Vi-zan-ti-ey), in the discussion, the question of the origin of the Slavs, Kar-ly-kovs, Kan-gars, Kyp-chas is being discussed. cov.

Aky-ny

Throughout the entire existence of the Kazakh tradition up to the 20th century. her obligatory fi-gu-roy was a national one, according to-the-im-pro-vi-za-tor akyn, blah-da-rya what came before us epi -some stories, fairy tales, songs, poems. Kazakh folklore includes more than 40 genres of different types, some part of the character only for him - song-no-pro-she-niya, song-no-letter-ma, etc. The songs are divided into pastures, ob-rya-do-vye, is-t-ri-ches-kie and b-w-w-w. The poems can also be divided into heroes, who tell us about the movements of the heroes, - Kob-lan -dy, Er-Tar-gyn, Al-pa-mys, Kam-bar-ba-tyr, etc. and li-ri-ches-kie, vo-pe-va-yu-shchie sa-mo-ot-ver -wife’s love of heroes, – Ko-zy-Kor-pesh and Ba-yan-Slu, Kyz-Zhi-bek, etc.

First time stories

In the 11th–12th centuries. at the court of Ka-ra-ha-ni-dov the first major pro-iz-ve-de-niyas appeared - po-ema Ku-tat-gu bi-lik ( “Bla-go-dat-noe knowledge”) (1069) Yusu-fa Khas-had-ji-ba from Ba-la-sa-gu-na (b. 1015), composed of 13 thousand two-verse. Po-ema po-stro-e-na in the form of dialogue-logs, from-re-che-niy, na-zi-da-niy. It is based on the episodes and pre-dates of the paradise-o-nov Zhe-ty-su, the basin on lake Is-syk-Kul and Kash-ga- ries, her acting per-so-na-zhi are real-real-real-persons. The main idea of ​​the poem: knowledge is the only source of goodness for both the rulers and the people. Yes.

Among the Turkic-speaking tribes of Kazakh-sta-na until the 19th–20th centuries. kept their own-obvious mo-but-te-is-ti-ches-kaya re-li-gia ten-gri-an-st-vo (supreme god Ten- Gri – no-bo, power-la, governing the world), cult of mountains – po-kro-vi-te-lei ro-da, as well as sha-ma-nism. In the 6th–9th centuries. Buddhism came to the Kazakh steppes, for-chat-ki ma-ni-hey-st-va. The faith in the village of the middle-not-ve-to-go Ka-zakh-sta-na has a lot of and sin-kre-tiz-mom. Once upon a time since the 9th century. kar-ti-na po-ste-pen-but me-nya-et-sya. Nomads continue to use the cult of Ten-Gri, and in settled lands paradise is about to spread the simplicity of islam, the re-li-gi-oz-naya is beginning to develop te-ra-tu-ra.

In the period of expansion of is-la-ma li-te-ra-tur-ny language is os-ta-val-sha motley, not-one-native , writing-men-naya li-te-ra-tu-ra developed mainly in the cities. A significant place in the cultural life of the city in the village of the game of pro-iz-ve-de-niya der-vish -skih po-etov and pi-sa-te-ley. One of the best-known was the son of the steppe mu-zy-kan-ta, the pro-ved-nik of is-la-ma Khod-ja Akh-met Yas-sa -vi (d. 1167), author of the collection of poems of re-li-gi-oz-no-mis-ti-ches-co-der-zha-niya Di-va- nor Hik-met (“Book of pre-wisdom”). In his co-chi-ne-nii, Yas-sa-vi promoted as-ke-tism and humility, believing that the path to truth not the path to God. The book contains a lot of cultural information about the population nah that time. Student Yas-sa-vi Su-lei-men Ba-kyr-ga-ni – author of the collection Za-mu na-zir ki-ta-by (“Books about the end of the world” -ta"). She tells that at the time of the end of the world, everything that exists will perish, but God will again create the world and everything will be reborn again. The books of Yas-sa-vi and Ba-kyr-ga-ni for the next hundred years were compulsory for study. nym in the medical sector of Central Asia and Kazakh-sta-na. Khi-bat ul-Ha-kaik (“Po-da-rock is-ti-ny”) - the only oldest book of Azib Akh-me-ta Mah-mud-uly Yug-ne-ki ( end of the 12th century) call for a decent life, hard work, striving for knowledge and people -nose.

For the earliest time, the production of oral national creativity, whose authorship can be considered -ta-new-len-nym, from-to-the-15th century. In the 16th century would it be good-ro-sho from the known so-chi-ne-niya le-gen-dar-no-go Asan-Kai-gy, aky-nov Do-spam-be-ta, Shal-ki- and-for, in the 17th century. - aky-na Bu-ha-ra-zhy-rau Kal-ka-ma-no-va, av-to-ra sharp-ly-ti-ches-kih-hot-vo-re-niy. In Kazakh-sta-not there was a tradition of pro-ve-de-niya of pe-sen-but-on-the-ti-ches-chesh relations between aky-na-mi - ay-you-sowl. Have you become a genre of pe-sen: tol-gau - philosophical thinking, ar-nau - dedication, etc. d. In the 18th–19th centuries. in creative honor of aky-nov Ma-kham-be-ta Ute-mi-so-va, Sher-ni-ya-za Zhar-ryl-ga-so-va, Su-yun-bai Aro-no- wa-new-new topics appear - calls for you to fight against ba-ev and bi-ev. At the same time, aky-ny Du-lat Ba-ba-ta-ev, Shor-tan-bai Ka-na-ev, Mu-rat Mon-ke-ev presented themselves -ser-va-tiv-noe on-right, ide-a-li-zi-ruya pat-ri-ar-hal-noe pro-sh-loe and praising re-li-gia . Aky-ny of the 2nd po-lo-vi-ny of the 19th century. Bir-zhan Ko-zha-gu-lov, Aset Nai-man-ba-ev, in etes-sa Sa-ra Tas-tan-be-ko-va, Dzham-bul and others. va-li ay-you-sy as a form of you-ra-zhe-society opinion, from-sta-i-vaya social justice Li-ness.

Li-te-ra-tu-ra 19 - na-cha-la 20 centuries

The Kazakh writing-men-naya li-te-ra-tu-ra in its modern form is folded only in 2 th po-lo-vi-not 19th century. under the influence of kon-tak-tov and dialogue with the Russian culture. The is-kovs of this process have hundreds of Kazakh pro-sve-ti-te-li Cho-kan Va-li-kha-nov, Ib-rai Al-tyn-sa -rin and Abai Ku-nan-ba-ev.

Cho-kan Va-li-ha-nov(1835–1865) - the first Kazakh scientist, enlightener, is-to-rick, ethno-graph, put-the-six-ven-nik and diplomatic lo-mat. The right-nuk of Kha-na Ab-laya, he was born into a pro-Russian ori-en-ti-ro-van family, he studied Arabic in a Kazakh school and I know you well with the eastern po-e-zi-ey and li-te-ra-tu-roy. The Omsk Ka-Children's Corps, which was for the Asian part of the Russian Empire of its kind, has finished Tsarsko-sel-skim face. At the end of the day, he was sent to the corps, but the Russian military uniform was issued by the Russian official. rum and bureaucrat, fulfilled the duties of the Tsar’s ad-minist-ra-tion.

His responsibilities include the is-to-rio-gra-fa function and participation in ex-pe-di-tsi-yah at Is-syk-Kul, in Kuld- Zhu, Kash-gar, during which time Va-li-kha-nov kept his po-the-days, on the basis of which there were -pi-sa-ny essays about the Kir-giz (so in the 19th century na-zy-va-li ka-za-khov) - about their history, society Ro-do-vom structure-st-ve, morals and customs-cha-yah, mi-fah and le-gen-dah (“For-written-ki about the Kir-gi-zakhs”).

He managed to be the first to write down and translate into Russian a part of the heroic epic of Ma-nas - “The Death of Ku-ko -tai-ha-na and his po-min-ki”, the native epic-ches-kuyu po-emu “Ko-zy-Kor-pesh and Ba-yan-su-lu”. In his works, Va-li-kha-nov paid a lot of attention especially to them-pro-vi-za-tor-sko-go-go-kus -st-va aky-nov, rit-mi-ke ka-zakh-sko-go sti-ha. A number of his researches are dedicated to the study of the Zo-ro-Ast-riy roots of the Kazakh men-ta-li-te-ta and syn-kre-tiz-ma sha-man-st-va with is-la-mom among the steppe peoples - “Traces of sha-man-st-va among the Kir-gi-z (ka- za-khov)", "Oh mu-sul-man-st-ve in the steppe." In the spring of 1861, his “Essays on Jungaria” were published, as well as the main works dedicated to is-to-rii and culture of Central Asia and the East (“Kir-giz-ro-do-slo-vie”, “About the nomads of the Kir-giz”, “ Pre-da-niya and le-gen-dy big Kir-giz-Kai-sats-koy hor-dy”, etc.).

Lived in St. Petersburg in 1860-1861 and continued to work on essays on the history and ethno-graphy of Kyrgyzstan. call, he is closely acquainted with the ideas of Russian re-vo-lu-tsi-on de-mo-kra-tov, communicates and others -lives with many pre-sta-vi-te-la-mi pe-re-do-howl de-mo-kra-ti-ches-koy in-tel-li-gen-tion – F.M . Do-sto-ev-skim, S.V. Du-ro-vym, I.N. Be-re-zi-nym, A.N. Be-ke-to-you. According to the re-co-men-da-tion of P.P. Se-me-no-va-Tian-Shan-go he was accepted as an active member of the Im-per-tor-Russian Geo -gra-fi-chest-society.

Os-ta-va-as ide-a-lis-that in no-ma-niy of social life, Va-li-kha-nov condemned the pro-of-ox- Zakh-skih fe-o-da-lovs and ko-lo-ni-za-tor-skaya po-li-ti-ku tsa-riz-ma, you-said-for-the-society -nie ka-za-khov to Russian culture.

Ib-rai Al-tyn-sa-rin(1841–1889) also graduated from the Russian-Kazakh-school, worked as a trans-water worker in Oren-burg, taught -lem and inspector-rum schools. At the same time, he made sure that as many Russian schools as possible were opened for Kazakh youth. In 1879, his “Initial administration for teaching the Russian language to the Kyrgyz people” and “Kyrgyz chres-to-ma-tiya”, which included many of his stories and poems, as well as about-from-ve-de- knowledge of Russian authors, translated into the Kazakh language. His li-te-ra-tour-naya de-tel-nost no-si-la pro-sve-ti-tel-sky character and was part of society -pe-da-go-gi-ches-koy prak-ti-ki. In the pro-iz-ve-de-ni-yah “Ne-ve-gesture”, “Ko-var-no-mu aris-to-kra-tu” he condemned fa-na-tism and vanity belief, revealed the re-ak-tsi-on-essence of the mullahs, convinced sko-vo-dov for the mother-of-the-land, in “Sy-no-bay and son-not-poor-but-you” about-ti-vo-post-tav- labored to-do-love poor-nya-kov boredom and greed-nos-ti bo-ha-whose. In the poems “Spring” and “Autumn” for the first time in Kazakh language Al-tyn-sa-rin re-a-lis-ti- Che-ki opis-sy-val K-Zakh pe-zazh and kar-ti-ny ko-whe-w-w-that. He also wrote about the lack of rights of women in traditional Kazakh society. How a folk-lo-rist wrote and published fairy tales “Ka-ra ba-tyr”, “Al-tyn-Ay-dar”, le-gen-do “Zhi-ren” -she-is-ro-words”, excerpt from the epic “Kob-lan-dy” and much more.

Life and work of Abai

Let's be friends with the Russian people, os-but-in-the-lozh-nik re-a-lis-ti-ches-koy whether-te-ra-tu-ry, Po-et and thinker Abai Ku-nan-ba-ev (1845–1904) was a pro-dol-zha-te-lem de la Va-li-ha-no-va. His creativity determined the cultural-tour-but-pro-light movement of the late 19th - early 20th centuries, -there is a huge impact on the subsequent development of the Kazakh language .

Ku-nan-ba-ev received a class-si-ches-toe eastern education. In the medical-re-se of Ima-ma Ah-met-Ri-zy, he studied Arabic, Persian, and other eastern languages, being familiar with class-si-ches-koy per-sid-skoy li-te-ra-tu-roy - Fir-do-usi, Ni-za-mi, Sa-a-di, Ha-fi-zom and others. new-re-men-but, after the ban on medical-re-se-se, I attended a Russian parish school. At the age of 28, he retired from the administrative functions of the head of the clan, completely giving up on himself -ra-zo-va-nu. Abai writes poems, studies Russian culture, and is not in the public library. Familiarity with Russian exiles had a strong influence on the formation of the region -nie pro-gress-siv-no-go world-view-view on-this. He translates into Kazakh pro-iz-ve-de-niya A.S. Push-ki-na, M.Yu. Ler-mon-to-va, I.A. Kry-lo-va, for-ru-bezh-klass-si-kov, writes Kazakh songs to the words of excerpts from Ev-ge-niy One-gi-na . The best known is his ele-gy, set to music, “Ka-ran-gy tun-de tau kal-gyp” - a poetic pe -re-vod “Night song of no countries” Ge-te.

Li-te-ra-tour-on-the-follow-up of Abai consists of poems, poems, poetic translations and translations -niya, about-for-and-ches-kie “na-zi-da-niya”. His po-e-zia has the class-si-ches-ness of simplicity and elegance of harsh-vein-techniques. He introduces new poetic forms - six-tis-silence and eight-mis-silence: “Out of time, you get a moment” (1896), “Once “I shouldn’t, dead, I’ll become clay” (1898), “On the water, like a shuttle, on the moon” (1888), “When it becomes long shadow" (1890), etc. For his language, there is a deep philosophical meaning and civil sound. In the verses “Oh, my ka-za-hi”, “Eight-mis-ti-shiya”, “Here comes old age. We are in sorrowful thoughts, we are in a dream...", "I-mu-chen, I am surrounded by everyone..." the cry of the fe-o-distant sounds foundations In the collection of hu-do-gesture-ven-no-fi-lo-soph-prose “Gak-lii” (“Na-zi-da-niya”), for-tro-well-you is-t-ri-ches-kie, pe-da-go-gi-ches-kie and right-wing those-we, the author calls on the people to take the path of culture -no-go progress-siv-no-go development, perseverance and honest work. Shi-ro-ko from the famous poems, sacred to the time of the year.

At the beginning of the 20th century. became a pe-ri-o-dom of the Kazakh-colored li-te-ra-tu-ry, having absorbed the Kazakh devil into itself, re- accurate and European li-te-ra-tour. At this time, the c-la-dy-va-yut-sa os-but-you from the time-Kazakh-li-te-ra-tu-ry, window-cha-tel-but for-mi-ru-et-sya-te-ra-tur-ny language.

Class-si-ki ka-zakh-skoy li-te-ra-tu-ry

Ah-met Bai-tur-son (1873–1913) for-no-small-sya pe-da-go-gi-ches-koy and li-te-ra-tour-de-i-tel-ness – pe -re-vo-dil bas-ni Kry-lo-va, from-gave a popular-among-di-ka-za-khov po-e-ti-ches-kiy collection “Ky- roar we-sal" and "Ma-sa" (1911). Bai-tur-sy-na can be called the first Kazakh language-co-ve-dom - he wrote articles in which you stood for pureness -tu Kazakh language, liberating it from Russian and Tatar words.

On-rozh-da-yu-sha-ya-sya K-Zakh-skaya li-te-ra-tu-ra osva-iva-la large li-te-ra-tour-forms - ro- ma-ny, in weight. Po-et and pro-za-ik Myr-zha-kyp Du-la-tu-ly (1885–1925) – author of several collections and the first Kazakh novel “Unfortunate Zha-mal” (1910), you-held-she-several of and you caused great interest among the Russian Kri-ti-ki and the Kazakh public society. He also za-ne-mal-sya per-re-vo-da-mi in Kazakh Push-ki-na, Ler-mon-to-va, Kry-lo-va-Shil-le- ra, was no-va-to-rum and re-for-ma-to-rum ka-zakh-sko-go li-te-ra-tur-no-go language. Span-di-yar Ko-be-ev (1878–1956) from-ves-ten as a re-vod-chik ba-sen Kry-lo-va and author of one of the na-for- more significant Kazakh novels Ka-lym (1913).

Pi-sa-tel and journal-on-list Mu-ha-med-zhan Se-ra-ly-uly (1872–1929), known for his-and-mi pro-iz-ve-de-ni -ya-mi Top zhar-gan (1900), Gul-ga-shi-ma (1903), re-re-vo-dom after the poem Rus-tem-Zo-rab from “Shah-na-me” Fir- do-usi, was the main editor of the journal “Ai-kap” (1911–1915), around some group progressive creative forces. Co-working with the journal Sul-tan-mah-mud To-rai-gy-rov (1893–1920) wrote poems and stories on topics ne-ra-ven-st-va, he is the author of the ro-ma-na “Ka-mar Su-lu”. In zhur-na-le there are also pe-cha-ta-lis Sul-tan-Mah-mut To-rai-gy-rov, Sa-bit Do-nen-ta-ev, Ta-ir Jo-mart-ba -ev et al.

With name Mag-zha-na Zhu-ma-bai(1893–1937) due to the introduction of new forms into the Kazakh style, and in the Kazakh The Chinese Li-te-ra-tur-ny language is a sti-li-ti-ches-coy system, which is preserved to this day. He began writing poetry at the age of 14 and was published in almost all newspapers and journals in the Kazakh and Tatar languages -kah. In 1912, his collection “Shol-pan” was published in Ka-za-ni.

Sha-ka-rim Ku-dai-ber-dy-uly(1858–1931), Abai’s nephew Ku-nan-ba-e-va, was a re-li-gi-oz-nym fi-lo-so-f, experienced in trak- ta-te “Mu-syl-man-shyl-dyk, shar-t-ta-ry” (Oren-burg, 1911) discuss dog-ma-you is-la-ma with po-mo - cabbage soup lo-gi-ches-ko-go-to-da. In the same year, he published one of the first works on the history of the Ka-za-khovs - “Ro-do-verbal Türks, Kir- gi-zov, ka-za-khov and khan-skih di-nas-tiy.” Sha-ka-rim was the author of a large number of sti-hot-vo-re-niy, about-um and about-for-and-ches-of-of-ve-de- ny. He re-translated Push-kin’s “Oak-row” into poetic form, and considered Bay-ro-n as his own. , Push-ki-na, Ler-mon-to-va, Ha-fi-za, Na-voi, Kan-ta, Sho-pen-gau-e-ra.

Re-li-gi-oz-ny fi-lo-sof Mu-ha-med Sa-lim Ka-shi-mov, known for his-and-mi about-from-ve-de-ni-ya- mi “Politeness”, “Ag-ta-tion”, “Na-sta-le-nie ka-za-boorish”, was also the author of “Sadness” Ma-ri-yam" (1914), in which the custom of you-da-chi de-vu-shek for husbands without their consent was condemned. In three books published in 1913, Mash-gu-ra-Zhu-su-pa Ko-pei-u-ly (1858–1931) “The surprise I saw -a new phenomenon in my long-year life”, “Po-l-o-zhe-nie” and “About whose land is Sa-ry-ar-ka” he you are sharply opposed to Russia and the transfer of Russian peasants to Kazakhstan.

At the end of the 19th - at the beginning of the 20th centuries. the “knizh-ni-kov” group, which includes Nur-zhan Na-usha-ba-ev, Ma-shur-Zhu-sup Ko-pe-ev, etc., about -po-ve-do-va-la pat-ri-ar-hal-nye views and co-bi-ra-la folk-lore. Around the gas-ze-you “Kazakh” (1913) there were a group of na-tsio-nal-pat-ri-o-ti-ches-ches-ly forces - A. Bai- tur-su-nov, M. Du-la-tov, M. Zhu-ma-ba-ev, after 1917 they moved to the camp of con-tr-re-vo-lu-tion .
Li-te-ra-tu-ra 20th century

After the October revolution in the creative honor of the aky-novs Jam-bu-la Ja-ba-e-va, Nur-pe-i-sa Bai-ga-ni- na, Doskeya Alim-ba-e-va, Nar-taya Be-ke-zha-no-va, Oma-ra Shi-pi-na, Ke-ne-na Azer-ba-e-va active-no we are developing so-ci-al-nye mo-ti-you and those-we are so-ci-a-lis-ti-ches-of-building-and-tel-st-va.

In the Soviet period, the greatest fame in the USSR was the creation of the Kazakh people. -aky-na Jam-bu-la Jam-ba-e-va (1846–1945), singing under ak-kom-pa-ne-ment dom-bry in the style of tol-gau. From his words there were epics Su-ran-shi-ba-tyr, Ute-gen-ba-tyr, fairy tales “Khan and Akyn”, “The Tale of Len- tyae”, etc. After the October revolution, new themes appeared in the creative honor of Jam-bu-la - “Anthem of the October Revolution” Ryu", "My Ro-di-na", "In Mav-zo-lee Le-ni-na", "Le-nin and Sta-lin" (1936). His songs included almost all the heroes of the Soviet power of the pan-theon, they were given the traits of the heroes, God-ha-you-ray. The songs of Jam-bu-la were translated into the Russian language and the languages ​​of the peoples of the USSR, so everything was native the calling and was used to the fullest extent by the Soviet pro-pa-ganda. In the years of the Great Father-Honest War, Jam-bul wrote pat-ri-o-ti-ches-kie pro-iz-ve-de-niya, zo-vu- supporting the Soviet people in the fight against the enemy - “Le-nin-grads, my children!”, “At the hour when Stalin calls” (1941 ) etc. In 1941 he won the Stalin Prize.

Co-che-taya oral forms with li-te-ra-tur-ny-mi, Jam-bul you-ra-bo-talked a new-to-e-che-ches-ma-ne- ru, because of the psycho-ho-lo-gi-chestness, the concreteness of the depiction of society vein of life, behind the soul and simpleness of the message.

Ro-do-na-chal-ni-ka-mi ka-zakh-skoy so-vet-skoy li-te-ra-tu-ry sta-li po-ety Sa-ken Sei-ful-lin (in ema “So-vet-stan”, “Al-bat-ros”, “So-tsi-a-lis-tan”, by weight “Zem-le-ko-py”, “Fruits”), Bai-ma-gam-bet Iz-to-lin, Il-yas Dzhan-su-gu-rov (after the poems “Steppe”, “Mu-zy-kant”, “Ku-la-ger”), pi- sa-te-li Mukh-tar Au-e-call (“Night races-ka-you”), “Sa-bit Mu-ka-nov” (so-tsi-al-no-is-to-ri -chess-kiy novel “Bo-ta-goz” (“For-ga-daughter-sign-me”)), Be-im-bet May-lin (based on the story “Kom-mu-nist-ka” Ra-u-shan", novel "Aza-mat Aza-ma-tych").

In 1926, the Kazakh as-so-ci-a-tion of the pro-le-tar pi-sa-te-leys was created, in the first years of its go su-es-st-vo-va-niya bo-rov-sha-ya-sya against na-tsio-na-lis-ti-ches-manifestations in li-te-ra-tu -re. Have you started to publish al-manah “Zhyl ku-sy” (“First las-tochka”) (since 1927) and the magazine “Zha-na ade-bi-et” ( “No-vaya li-te-ra-tu-ra”) (since 1928). In 1934, the Union of Pi-sa-te-lei of Ka-zakh-sta-na was created, and later sections of Russians and Uys began to work in its association -gur-skih pi-sa-te-ley.

The first howl on the occasion of the Father-honest war in the Kazakh li-te-ra-tu-re was called a citizen-dan-sko-pat-ri-o -ti-ches-kaya po-e-zia - poem by K. Aman-jo-lo-va “A Tale of Death in This” (1944) about the movement - died near Moscow by this Ab-dul-ly Ju-ma-ga-li-e-va, poems Tok-ma-gam-be-to-va, Zhar-ro-ko -va, Or-ma-no-va, etc. After the war, the ro-mans “Soldier from Kazakh-sta-na” Mus-re-po-va appeared ( 1949), “Kur-lyan-diya” Nur-pe-i-so-va (1950), “Terrible days of Ah-ta-po-va” (1957), Me-mu-a-ry Mo-my -shu-ly “Beyond Moscow” (1959).

In 1954, Mukh-tar Au-e-zov finished the tet-ra-lo-gy, the novel-epic “The Path of Abai”, which received the best response in many countries " The post-le-vo-en-naya K-Zakh-li-te-ra-tu-ra mastered large forms of “big” Soviet style la, cha-go-tea to large-scale li-te-ra-tour-forms - ro-ma-nam, tri-lo-gi-yam, po-em and ro-ma-us in sti-khakh (Mu-ka-nov, Mus-ta-fin, Shash-kin, Er-ga-li-ev, Ka-ir-be-kov, Mul-da-ga-li-ev, etc.). The dra-ma-tur-giya (Khu-sa-i-nov, Abi-shev, Ta-zhi-ba-ev) was developed, the fan-tas-ti-ka (Sar) -se-ke-ev, Alim-ba-ev).

In the 1970s, the attention of chi-ta-te-lei was attracted by the book from the famous collection of “Good times for ho-da" (1961), "Above the white-mi re-ka-mi" (1970), "Repeating at noon" (1975) by Kazakh poet and pi-sa-te-la Ol-zha-sa Su-lei-me-no-va “Az and Ya” (1975). In it, he developed ideas about the clan of the Ka-za-khs and the ancient Su-mers, drew attention to the great number of honest in the words of the Turkic origin in the Russian language, which, in his opinion, speaks of the strong influence of the Turkic Russian culture into Russian. In a lively dis-kus-siya, unfolded-in-the-sha-ti, Su-lei-me-no-va about-vi-nya-li in the “pan-tur- kiz-me” and na-tsio-na-liz-me.

In the poems of Ol-zha-sa Su-lei-me-no-va “Ko-chev-nik”, “Song of ku-ma-na”, “Lame ku-lan”, “Ka-ra -gach”, “Red messenger and black messenger”, “Mo-lit-va ba-ty-ra”, “Nomadic camp before winter...”, “Bal-la -yes”, “Vol-cha-ta”, “The last word of Aky-na Sme-ta” and many other s-of-the-world-of-ve- de-ni-yah of this yar-ko-go before-sta-vi-te-lya of the Kazakh-Zi-zian second half of the 20th century, teaching -no-go and dip-lo-ma-ta, society-ven-no-go and go-su-dar-st-ven-no-go de-ya-te-la, pro-track- va-yut-sya and personal-ness, and a deeply in-di-vi-du-al-ny look at the essence of the phenomenon quick-ro-me-of-the-world, which are co-contiguous with the well-known post-tu-la-that “from private-but- go to the general.” Element-men-you in the native language, ha-rak-ter-ny for many aky-novs so-called “steppe ref-ren” , instantaneous im-pro-vi-za-tion, born of my own unique thought, which always lives in su-ley -me-new Word that “wanders in the steppe” - all this and much-many other things are always defined-de-la-lo by-e-ti -the spirit of Ol-zha-sa Su-lei-me-no-va as su-gu-bo na-tsio-na-l-noe creativity, which came out of many- century-old tradition, named after “on-the-e-zi-steppe.”

Na-tsio-na-l-naya li-te-ra-tu-ra na-ro-dov Ka-zakh-sta-na

In 1977, in the Union of Pi-sa-te-lei Ka-zakh-sta-na, a section of the Ko-Rei-skaya li-te-ra-tu-ry was opened. Writer and poet Kim Dun (1900 - 1980) - author of the poem “Aliya”, dedicated to the Kazakh de-vush-ke-ba-ty-ru A. Mol-da-gu-lo-voy (1960, in Korean). Since 1937, in the Republic of Korea, the Republic of Korea has seen more than 100 plays of Korean drama-tourists. The plays by M. Au-e-zo-va “Ka-ra-goz” and “Ko-by-lan-dy”, G. Mus- were staged in the Korean language re-po-va “Ko-zy Kor-pesh - Ba-yan Su-lu”, as well as plays by O. Bo-dy-ko-va, K. Mu-ha-med-zha-no- va. German writers and writers are working successfully in the re-public. From R. Zhakm-en, K. Velts, I. Var-ken-ti-na, and also about -for A. Reim-gen, V. Klein, D. Gol-man, A. De-bol-sko-go, G. Bel-ge-ra. In 1932, the Or-ga-ni-zo-va-na Uy-Gur section. During this period, I. Sat-ti-ro-va, I. Is-kan-de-ro-va had success, were they drinking sy J. Asi-mo-va and A. Sa-di-ro-va, K. Ha-sa-no-va. Iz-da-ny collection-ki po-ve-tei Kh. Ab-dul-li-na, Z. Sa-ma-di, J. Bo-sa-ko-va, T. To-khta-mo -va, M. Zul-py-ka-ro-va, A. Ashi-ro-va, N. Ba-ra-to-va, P. Sa-bi-to-voy, as well as poems and according to the poems of I. Bakh-tiya, M. Ham-ra-e-va, I. Bakh-ni-ya-zo-va, R. Ka-dy-ri, A. Ga-ni-e-va, M. Ab-du-rah-ma-no-wa. Transfer-re-ve-de-ny and from-da-ny into the Uy-Gur language “Sti-hot-vo-re-niya” by A. Ku-nan-ba-e-va (1987), “Ba -lu-an Sho-lak” by S. Mu-ka-no-va (1987, trans. K. To-khta-mo-va), “Ul-pan is her name” by G. Mus-re-po-va ( 1987, translated by Z. Sa-ma-di). Because of the well-known pi-sa-te-lyam and this is why it is supported from the side of the city-su-dar-st-va, Dm. Sne-gin, G. Bel-ger, M. Si-mash-ko received the prize of the World and the spirit of the co-gla-sia Pre-zi-den-ta Republic of Kazakhstan.

Modern Kazakh-stan-li-te-ra-tu-ra

Period from the end of the 1990s to the beginning of the 2000s. in li-te-ra-tu-re Ka-zakh-sta-na ha-rak-te-ri-zu-et-sya trying to comprehend the st-mo-der-nist- Western ex-peri-men-you in li-te-ra-tu-re and the possibility of using de-construction techniques and “ compaction of the text, as well as re-re-os-thought-le-tion of pro-iz-ve-de-niy from-known and little-known av -to-ditch. Li-te-ra-tu-ra Ka-zakh-sta-na continues to develop in the context of the social -li-za-tions, absorbing and developing new cultural developments, taking into account our own possibilities and in-te-re-sov.

Source: http://www.kazakhstanlive.ru