Before the collapse of the USSR, the national literary art Union republics were given great attention. Now, despite the preservation of cultural and economic ties with the CIS countries, most of the reading population has a very vague idea of what is happening in the literary arena of Kazakhstan. Meanwhile, the Kazakh language and literature is a large-scale cultural layer worthy of detailed acquaintance. And we are talking not only about classical works, but also about books by modern authors.
Kazakh language and literature
Researchers agree that the time of appearance of author's works in the national language is the period of the beginning of the 15th century. However, the history of Kazakh folk literature began much earlier and was associated with the development of linguistic traditions.
Its forerunners were medieval authors who created works in Chagatai and Persian. On the territory of modern Kazakhstan, ethnic groups belonging to the Turkic language group were widespread, and in some areas long time the Sogdian language of the Iranian group was used. The first runic writing (on wooden tablets) appeared around the 5th-6th centuries.
If you believe the Chinese chronicles, in the 7th century the Turkic-speaking tribes already had oral poetic traditions. Legends have been preserved about the sacred land and life in the beautiful Ergene-Kong valley, protected from all adversities. Poetic elements of the epic are also found on discovered archaeological sites and tombstones.
Folklore
In the first, preliterate literary period, the leading position was occupied by poetic genres and epic. There are three main stages in the history of Kazakh poetry.
- XV - first half of the XVIII century. Zhyrau period ( folk singer and poet, author and performer poetic works). The main genre for them was “tolgau”, poems in the form of reflections containing advice, edifications and aphorisms. In them, zhyrau expressed people's interests, ideas of unity, justice, and sang the beauty of nature. Such poets were often a serious political force and performed public and even military functions. The earliest works with established authorship date specifically to this period. Among the founders of Kazakh literature one can name Asan-Kaigy, the author of political poems Bukhar-zhyrau Kalkamanov, akyns (improvised poets) Shalkiiz and Dospambet.
- Second half of the 18th - first half of the 19th century. Poetic period. At this time, the genre of poetic song became more diverse; in addition to the motive of reflection, “arnau” (appeal, dedication) also appeared. In their works, akyns began to more often turn to themes of folk and political struggle. Such problems are typical for the works of Suyunbay Aronula and Makhambet Utemisov. At the same time, a conservative religious trend was also being formed (Murat Monkeyev, Shortanbai Kanaev).
- Second half of the 19th - beginning of the 20th centuries. Aytys period. The tradition of aitys, poetic improvisation competitions between akyns, which had developed earlier, became most widespread at this time. Poets of the second half of the 19th century, Zhambyl Zhabaev, Birzhan Kozhagulov, used poetry as a way of expressing social thought and the desire for social justice.
The Birth of Written Literature
The first written literary works began to appear only in the second half of the 19th century in the course of cultural dialogue with Russia and the West. At this time, the modern grammar of the Kazakh language was being formed. At the origins of these processes are the founders of Kazakh written literature, educators Abai Kunanbaev, Shokan Valikhanov, Ibrai Altynsarin.
National literature is gradually acquiring some European features, new stylistic forms are appearing, in particular, stories and novels. The author of the first novel “Unhappy Zhamal” was famous poet and prose writer Mirzhakip Dulatov. It was during this period that modern literary language, translations of the works of M. Yu. Lermontov, A. S. Pushkin, F. Schiller appear, the first printed books and newspapers are published.
In contrast, it is formed literary group“scribes” (Nurzhan Naushabaev and others), who collected folklore material and adhered to patriarchal and conservative views.
Founders of Kazakh literature
The literary Kazakh language, which became a standardized version of the folk language, was formed on the basis of the northeastern dialect, which was least influenced by Persian and Arabic languages. It was on it that Abai Kunanbayev created his works. The latter is a recognized classic of Kazakh literature.
Ibragim Kunanbaev - poet, public figure, composer, educator, philosopher, reformer in the field of literature, supporter of rapprochement with Russian and European culture based on enlightened Islam. He was born in 1845 in Semipalatinsk district into a noble family. “Abai”, a nickname received in childhood, meaning “careful, attentive”, stuck with him in long years both in life and in literature. Future classic of Kazakh fiction studied at a madrasah, studying Arabic and Persian, while simultaneously attending a Russian school. He began writing his first poems at the age of 13, hiding his own authorship, but he created his recognized works already in adulthood. His development as a writer was greatly influenced by the humanistic ideas of a number of thinkers and poets of the East and West. Subsequently, he was involved in translating their works into the Kazakh language and disseminating the ideas of Russian culture.
Abai created more than 50 translations, about 20 melodies, about 170 poems and poems. One of the most famous was the prose poem consisting of 45 parables and philosophical treatises “ Simple words" It raises problems of morality, pedagogy, history and law.
Literary creativity of the XIX-XX centuries.
A feature of Kazakh literature of the 19th century was the coexistence of two types of writing. On the one hand, used in the works of the so-called scribes, which included whole line borrowings from Arabic and Persian languages, on the other - new written literature, at the origins of which stood Altynsarin and Kunanbayev.
The pre-Soviet period became important stage in the history of Kazakh literature of the 20th century. At this time, the canons are finally taking shape modern literature And writing, new genres and styles appear.
Akhmet Baitursyn became an outstanding literary figure of the beginning of the century. His first work in the poetic field was a translation of I. A. Krylov’s fables, followed by his own poetry collection “Masa”. He was also a researcher in the field of linguistics and advocated the cleansing of the national language from foreign words.
One of the creators of the stylistic structure of the modern Kazakh language was the poet Magzhan Zhumabay. His influence on the development of national poetry is comparable to the influence of Abai. The author's works have been published in most newspapers and magazines.
A prominent representative of the writers of that period is Spandiyar Kobeev. His novel "Kalym", published in 1913, became a significant event in the history of national literature.
The spread of Soviet power on the territory of Kazakhstan and its entry into the USSR had a huge impact not only on the socio-political system, but also significantly changed the vectors of development of national literature. In 1924, the reform of Kazakh writing and spelling began. Initially based on the Arabic alphabet, then on the Latin one (used until 1940). Subsequently, the question was raised about the need to bring Kazakh and Russian writing closer together.
In 1926, the Association of Kazakh Proletarian Writers was formed, and a few years later - the Union of Writers of the Kazakh Republic.
Among the brightest writers of Kazakh literature of this period, Sabit Mukanov, Mukhtar Auezov, Beimbet Maylin should be noted.
The events of the Great Patriotic War gave impetus to the development of civil and patriotic poetry and prose. The poems “The Tale of the Death of a Poet” and the novels “Terrible Days” and “Soldier from Kazakhstan” were published.
In the post-war period, large literary forms actively developed, as well as drama (Khusainov) and Science fiction(Alimbaev). Mukhtar Auezov’s famous novel “Abai’s Path” was created.
The Soviet period became the heyday of Kazakh children's literature. Here one cannot fail to note the novels and stories of Sapargali Begalin (“The Herd Girl,” “Falconry”) and Berdibek Sokpakbaev (“Champion,” “Journey to Childhood”). The heroes of these works are brave, resilient guys who face their first difficulties, make choices, believe in friendship and justice.
Poetry of Zhambyl Zhabayev
The works of this national poet-akyn are considered classics of Kazakh literature of the Soviet era. He was born in the middle of the 19th century into a nomadic family and lived for 99 years. Having learned to play the domra, he left home in his teens to become an akyn. For many years he participated in aitys, performing in the tolgau style exclusively in the Kazakh language. He became famous as the author of accusatory songs. During the revolution of 1917, he was already nearly seventy, however, new trends marked the next stage in Zhambyl’s work. Imbued with revolutionary ideas, in his works he gave Soviet leaders the features of epic heroes: “Song about Batyr Yezhov”, “Aksakal Kalinin”, “Lenin and Stalin”. By the 40s. Zhambyl became the most famous and revered akyn of Kazakhstan, his name was practically a household name.
Despite the politicization of creativity recent years, his contribution to the development of Kazakh literature is enormous. Zhambyl's poetic style is characterized by simplicity of narration and, at the same time, psychological richness and sincerity. In his works he actively combined prose and poetry, oral and literary forms. Over the years of creativity, he created many social-satirical, everyday, lyrical songs, poems, and fairy tales.
Creativity of Olzhas Suleimenov
Another prominent representative of Kazakh literature, whose creative path began in Soviet years, is Olzhas Suleimenov. Poet, writer, literary critic, diplomat and social and political figure. He gained initial fame as the author of linguistic studies and repeatedly expressed ideas related to nationalism and pan-Turkism.
Olzhas was born in 1936 in the family of a former officer. After graduating from the geological exploration faculty and, after working for some time in his specialty, he began journalistic and literary activities by entering the literary institute in Moscow. His first poems were published in 1959 in " Literary newspaper». Literary success came to Suleimenov two years later, when his poem “Earth, Bow to Man!”, dedicated to the first flight into space, was published.
After the release of several poetry collections and novels “Year of the Monkey” and “Clay Book”, at the peak of active social and political activity, in 1975 he wrote the literary work “Az and Ya. The Book of a Well-Intentioned Reader.” In it, Suleimenov draws attention to numerous borrowings from the Turkic language in Russian, formulates assumptions about the kinship of the Kazakhs and ancient Sumerians. The book caused a public outcry, was banned, and its author was deprived of the opportunity to publish for 8 years. He continued to develop his ideas at the end of the 20th century, being the permanent representative of Kazakhstan to UNESCO.
Contemporary literary creativity
General trends in the development of Kazakh literature in last decades associated with the authors’ desire to comprehend Western postmodernism and use the obtained theses in their own work. Re-evaluated famous works Kazakh authors. Interest in the heritage of repressed writers has increased.
It is noteworthy that a number of literary layers are now developing in Kazakhstan. For example, there are works by Russian-speaking writers of different nationalities (Kazakhs, Koreans, Germans), as well as Russian literature of Kazakhstan. The creativity of Russian-speaking authors is original literary movement, which arose from the merger of several cultures. Here you can name the names of Rollan Seisenbaev, Bakhytzhan Kanapyanov, Alexander Kan, Satimzhan Sanbaev.
Authors of the 21st century
Today, Kazakh literature is developing entirely in line with global trends, taking into account modern trends and own capabilities. If you compile a literary shortlist of modern authors who deserve the attention of the readership, then at least two dozen names will be included in it. Here are just a few of them.
Ilya Odegov. Prose writer and literary translator. Author of the works “The Sound with which the Sun Rises” (2003), “Any Love”, “One Without Two”, “Timur and His Summer”. Winner of many awards, in particular, is the winner literary competition"Russian Prize" and laureate of the "Modern Kazakh Novel" award.
Karina Sarsenova. Playwright, poetess, writer, screenwriter, psychologist. At the same time, he is the creator of one of the largest production centers in Kazakhstan. Member of the Writers' Union of the Russian Federation and head of the Eurasian Creative Union. The founder of a new literary genre - neo-esoteric fiction. Author of 19 works published in Russia, Kazakhstan, China, as well as film scripts and musicals.
Aigerim Tazhi. Poetess, author of the collection “GOD-O-WORDS”, numerous publications in literary publications in Russia, Europe, the USA, and Kazakhstan. Finalist of the “Debut” literary award in the “Poetry” category, laureate of the “Steps” award. Her poems have been translated into French, English and Armenian.
Ayan Kudaikulova. Works in the genre of acute social and psychological prose (“Carnelian Ring”, “Eiffel Tower”). Having released her debut novel in 2011, a couple of years later she became the best-selling author in Kazakhstan. The main theme of the works is the problems of family and society.
Ilmaz Nurgaliev. Science fiction writer. The actual founder of the “Kazakh fantasy” genre with a folklore twist, the author of the “Dastan and Arman” series.
centuries, already by this time the Turkic-speaking tribes of Kazakhstan had an oral poetic tradition dating back to an earlier period. This is also confirmed by various elements of epic poetry (epithets, metaphors and others literary devices), discovered in the Orkhon monuments - the texts of the tombstone steles of Kultegin and Bilge Kagan, telling about the events of the 5th-7th centuries.
Epics “Korkyt-Ata” and “Oguzname”
On the territory of modern Kazakhstan, the most famous ancient epics in the Turkic languages - “Korkyt-Ata” and “Oguzname” - developed. The epic “Korkyt-Ata”, which was spread orally, arose in the Kipchak-Oguz environment in the Syrdarya River basin around the 8th - 10th centuries. , was recorded in the XIV-XVI centuries. Turkish writers in the form of “The Book of Grandfather Korkyt”. In fact, Korkyt is a real person, the bek of the Oguz-Kypchak tribe Kiyat, who is considered the founder of the epic genre and musical works for kobyz. The epic “Korkyt-Ata” consists of 12 poems and stories about the adventures of Oguz heroes and heroes. It mentions such Turkic tribes as the Usun and Kangly.
The poem “Oguzname” is dedicated to the childhood of the Turkic ruler Oguz Khan, his exploits and victories, marriage and the birth of sons, whose names were Sun, Moon, Star, Sky, Mountain and Sea. Having become the ruler of the Uighurs, Oguz waged wars with Altyn (China) and Urum (Byzantium). This work also discusses the origin of the Slavs, Karluks, Kangars, Kipchaks and other tribes.
Heroic and lyrical poems
It is no secret that since the birth of the Kazakh poetic tradition, its main and indispensable figure has been the national poet-improviser - akyn. It is thanks to akyns that numerous epic works, fairy tales, songs, poems written several centuries ago. Kazakh folklore includes more than 40 genre varieties, some of which are characteristic only of it - petition songs, letter songs, etc. Songs, in turn, are divided into shepherd, ritual, historical and everyday songs. Poems can also be divided into heroic, that is, telling about the exploits of heroes (“Kobylandy Batyr”, “Er-Targyn”, “Alpamys Batyr”, “Kambar Batyr”, etc.), and lyrical, praising selfless love heroes (“Kozy-Korpesh and Bayan-Sulu”, “Kyz-Zhibek”).
Beginning of the 20th century became the heyday of Kazakh literature, which absorbed many features European literature. At this time, the foundations of modern Kazakh literature were laid, the literary language was finally formed, and new stylistic forms appeared.
The emerging Kazakh literature mastered large literary forms that were still unfamiliar to Kazakh writers - novels and stories. At this time, the poet and prose writer Mirzhakip Dulatov, the author of several poetry collections and the first Kazakh novel “Unhappy Jamal” (), which went through several editions and aroused great interest among Russian critics and the Kazakh public, gained great fame. He also translated Pushkin, Lermontov, Krylov, Schiller, and was a reformer of the Kazakh literary language.
At the end of the 19th - beginning of the 20th centuries. a group of “scribes”, which included Nurzhan Naushabaev, Mashur-Zhusup Kopeev and others, actively preached patriarchal views and collected folklore material. Nationalist forces were grouped around the Kazakh newspaper - Akhmet Baitursynov, Mirzhakip Dulatov, Magzhan Zhumabaev, who after 1917 went over to the counter-revolutionary camp.
Creativity of Zhambyl Zhabayev
During the Soviet period, the work of the Kazakh folk poet-akyn Zhambyl Zhabayev, who sang to the accompaniment of a dombra in the tolgau style, became most famous in the USSR. Many epics were written down from his words, for example, “Suranshi-batyr” and “Utegen-batyr”. After the October Revolution, new themes appeared in Dzhambul’s work (“Hymn to October”, “My Motherland”, “In the Lenin Mausoleum”, “Lenin and Stalin”). His songs included almost all the heroes of the Soviet power pantheon; they were given the features of heroes and heroes. Zhambul's songs were translated into Russian and the languages of the peoples of the USSR, received popular recognition and were fully used by Soviet propaganda. During the Great Patriotic War, Zhambyl wrote patriotic works calling Soviet people to fight the enemy (“Leningraders, my children!”, “At the hour when Stalin calls,” etc.)
Literature of the second quarter of the 20th century
The founders of Kazakh Soviet literature were the poets Saken Seifullin, Baimagambet Iztolin, Ilyas Dzhansugurov, and the writers Mukhtar Auezov, Sabit Mukanov, Beimbet Mailin.
Contemporary Kazakh literature
The literature of Kazakhstan in the late 1990s and early 2000s can be characterized by attempts to comprehend postmodern Western experiments in literature and use them in Kazakh literature. Also, many works of famous and little-known Kazakh authors began to be interpreted in a new way.
Now 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.
see also
Sources
Links
| Kazakhs | |
|---|---|
| Zhuz | Senior zhuz · Middle zhuz · Junior zhuz · Ru |
| Culture | History · Language · Writing · Literature· Kazakh folk poetry · Traditions · Religion · Cuisine |
| Diaspora | China · Uzbekistan · Russia · Mongolia · Turkmenistan · Kyrgyzstan · Turkey · Afghanistan · Iran · |
centuries, already by this time the Turkic-speaking tribes of Kazakhstan had an oral poetic tradition dating back to an earlier period. This is also confirmed by various elements of epic poetry (epithets, metaphors and other literary devices) 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.
Epics “Korkyt-Ata” and “Oguzname”
On the territory of modern Kazakhstan, the most famous ancient epics in the Turkic languages - “Korkyt-Ata” and “Oguzname” - developed. The epic “Korkyt-Ata”, which was spread orally, arose in the Kipchak-Oguz environment in the Syrdarya River basin around the 8th - 10th centuries. , was recorded in the XIV-XVI centuries. Turkish writers in the form of “The Book of Grandfather Korkyt”. In fact, Korkyt is a real person, the bek of the Oguz-Kypchak tribe Kiyat, who is considered the founder of the epic genre and musical works for kobyz. The epic “Korkyt-Ata” consists of 12 poems and stories about the adventures of Oguz heroes and heroes. It mentions such Turkic tribes as the Usun and Kangly.
The poem “Oguzname” is dedicated to the childhood of the Turkic ruler Oguz Khan, his exploits and victories, marriage and the birth of sons, whose names were Sun, Moon, Star, Sky, Mountain and Sea. Having become the ruler of the Uighurs, Oguz waged wars with Altyn (China) and Urum (Byzantium). This work also discusses the origin of the Slavs, Karluks, Kangars, Kipchaks and other tribes.
Heroic and lyrical poems
It is no secret that since the birth of the Kazakh poetic tradition, its main and indispensable figure has been the national poet-improviser - akyn. It is thanks to the akyns that numerous epic works, fairy tales, songs, and poems written several centuries ago 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, in turn, are divided into shepherd, ritual, historical and everyday songs. Poems can also be divided into heroic, that is, telling about the exploits of heroes (“Kobylandy Batyr”, “Er-Targyn”, “Alpamys Batyr”, “Kambar Batyr”, etc.), and lyrical, glorifying the selfless love of heroes (“Goats- Korpesh and Bayan-Sulu", "Kyz-Zhibek").
Beginning of the 20th century became the heyday of Kazakh literature, which absorbed many features of European literature. At this time, the foundations of modern Kazakh literature were laid, the literary language was finally formed, and new stylistic forms appeared.
The emerging Kazakh literature mastered large literary forms that were still unfamiliar to Kazakh writers - novels and stories. At this time, the poet and prose writer Mirzhakip Dulatov, the author of several poetry collections and the first Kazakh novel “Unhappy Jamal” (), which went through several editions and aroused great interest among Russian critics and the Kazakh public, gained great fame. He also translated Pushkin, Lermontov, Krylov, Schiller, and was a reformer of the Kazakh literary language.
At the end of the 19th - beginning of the 20th centuries. a group of “scribes”, which included Nurzhan Naushabaev, Mashur-Zhusup Kopeev and others, actively preached patriarchal views and collected folklore material. Nationalist forces were grouped around the Kazakh newspaper - Akhmet Baitursynov, Mirzhakip Dulatov, Magzhan Zhumabaev, who after 1917 went over to the counter-revolutionary camp.
Creativity of Zhambyl Zhabayev
During the Soviet period, the work of the Kazakh folk poet-akyn Zhambyl Zhabayev, who sang to the accompaniment of a dombra in the tolgau style, became most famous in the USSR. Many epics were written down from his words, for example, “Suranshi-batyr” and “Utegen-batyr”. After the October Revolution, new themes appeared in Dzhambul’s work (“Hymn to October”, “My Motherland”, “In the Lenin Mausoleum”, “Lenin and Stalin”). His songs included almost all the heroes of the Soviet power pantheon; they were given the features of heroes and heroes. Zhambul's songs were translated into Russian and the languages of the peoples of the USSR, received popular recognition and were fully used by Soviet propaganda. During the Great Patriotic War, Zhambyl wrote patriotic works calling the Soviet people to fight the enemy (“Leningraders, my children!”, “At the hour when Stalin calls,” etc.)
Literature of the second quarter of the 20th century
The founders of Kazakh Soviet literature were the poets Saken Seifullin, Baimagambet Iztolin, Ilyas Dzhansugurov, and the writers Mukhtar Auezov, Sabit Mukanov, Beimbet Mailin.
Contemporary Kazakh literature
The literature of Kazakhstan in the late 1990s and early 2000s can be characterized by attempts to comprehend postmodern Western experiments in literature and use them in Kazakh literature. Also, many works of famous and little-known Kazakh authors began to be interpreted in a new way.
Now 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.
see also
Sources
Links
| Kazakhs | |
|---|---|
| Zhuz | Senior zhuz · Middle zhuz · Junior zhuz · Ru |
| Culture | History · Language · Writing · Literature· Kazakh folk poetry · Traditions · Religion · Cuisine |
| Diaspora | China · Uzbekistan · Russia · Mongolia · Turkmenistan · Kyrgyzstan · Turkey · Afghanistan · Iran · |
The revolutionary movement of the early 20th century in Russia affected the situation of the national outskirts, including Kazakhstan. A small national intelligentsia, taking advantage of this situation, began the struggle for independence and freedom, for the awakening of the people from a centuries-old sleep, for deliverance from double oppression: the colonial yoke of tsarism and local patriarchal-tribal violence. The intelligentsia led the people onto the path of independence, agitated for the mastery of knowledge, science, and art. In this process there is no last role Kazakh literature played, contributing to the reflection of the life of the Kazakh people and the protection of their interests. The leading part of Kazakh writers and poets, continuing the educational, democratic traditions of Abai, tried to link them with the idea of the fight against colonialism. The revolutionary-democratic orientation of the literary, creative, socio-political activities of Akhmet Baitursynov and Mirzhakyp Dulatov, who were at the head national movement, is obvious. They attached special significance to the national liberation idea not only in their creative work, but also in their socio-political activities. This is confirmed by their participation in the nationwide revolution of 1905, the demand for independence of the Kazakhs at the congress of the constitutional democratic party, the purposeful development of this idea on the pages of the Kazakh newspaper (1913-1918), as well as the attempt to create Alash autonomy after the fall of tsarism.
Akhmet Baitursynov (1873-1937) is a poet who enriched Kazakh literature of the early 20th century with the idea of the struggle for freedom and independence. His poetry collection “Masa” (Orenburg, 1911) is dedicated to the difficult, powerless situation of the people, their liberation from colonialism, backwardness in development, ignorance, on the other hand, the work is a call for knowledge, science, and culture. The poet’s great desire is to awaken in his compatriots a sense of high citizenship. If in the lines:
Like migrating geese, we sought a cool refuge in the Sahara.
A reed fire raged around,
Is it possible to hide from the fiery stings?
describes the hopeless situation of the people, languishing under the colonial yoke, in the following lines:
It's like we're in a boat without oars
In a sea wide without edge.
The wind will blow, the waves will rise,
And we float, losing our bearings.
It is obvious that without independence and freedom, the future of the nation is illusory and uncertain.
Having called his collection “Masa” (which means “Mosquito”), the poet put into the title certain meaning, trying to wake up the “sleeping” people, annoyingly and incessantly buzzing like a mosquito.
Oh, Kazakhs, my people.
Life is hard
But you are not broken. Livestock stolen
Soul in the dark, Wake up, open your eyes.
Have you really not had enough sleep? And is it time to sleep?
A. Baitursynov's book "Forty Fables" ("Kyrykmysal") (St. Petersburg, 1909) is a collection of works created on the model of Krylov's fables. Taking the plots of Krylov’s fables as a basis, Baitursynov created original Kazakh fables with free translation, filling them with examples from Kazakh life. The fables ridicule the vices common among the Kazakhs and condemn social injustice.
Akhmet Baitursynov is a reformer of the Kazakh language. He created an alphabet based on Arabic script. Begun in 1912, this work was officially adopted in 1924 as "Zhana emle" ("New Rule"). Baitursynov wrote the textbook "Oku Kuraly" ("Reading") (1912) and "Til Kuraly" ("Language Textbook"), consisting of 3 parts: phonetics, morphology, syntax. Baitursynov’s textbooks were an innovation not only for the Kazakhs, but also for the entire Turkic-speaking world. Later he published methodological books “Bayanshy” (1920), “Ush Zhumsak” (1925). The first work on literary criticism, “Edebiet tanytkysh” (1926), also belongs to Baitursynov.
Mirzhakyp Dulatov (1885-1935) is Akhmet’s comrade-in-arms, who went alongside him both during the years of struggle for the freedom of the people and in the literary field. His collection "Oyan, Cossack!" (“Wake up, Kazakh!” Kazan, 1909) is one of the first works where the problem of the fate of the people is raised acutely. Influencing the minds and hearts of his readers, he draws their attention to the responsibility of each individual to the people. Revealing the negative aspects of the life of contemporary Kazakh society, M. Dulatov calls on his compatriots to a new life, calls on them to learn good things from other peoples, and advocates for science, education, and equality of women:
Don't go astray
Liberty, equality and fraternity
If you are true to this,
Your human duty is clear.
These lines contain not only the humanistic position of Mirzhakyp, but also loyalty to his life program (“freedom”, “brotherhood”, “equality”).
"Oyan, Cossack!" From the time of its publication, it was perceived as a book directed against colonialism, its circulation was destroyed, and the author was persecuted and repeatedly imprisoned. However, this did not break the poet; he also actively continued his literary and journalistic activities. During this period, he published the novel “Unhappy Zhamal” (Orenburg, 1910), collections of works “Azamat” (Orenburg, 1913), “Terme” (Orenburg, 1915). Since 1913, living permanently in Orenburg, he, together with Akhmet Baitursynov, has been publishing the newspaper "Kazakh".
"Unhappy Zhamal" is the first Kazakh novel created. It describes the difficult fate of the girl Zhamal, who became a victim of patriarchal clan customs and prejudices. At the same time, the novel shows the conflict of the advancing new with the dying old, a clash of views younger generation with the guardians of age-old foundations. The novel is also attractive because it reveals the process of the emergence of freedom-loving ideas among young people.
M. Dulatov translated a number of works from Russian and European classics (Pushkin, Lermontov, Schiller, Tukay). Dulatov’s contribution to the development of Kazakh journalism is also invaluable.
The poet who made a huge contribution to the cause of independence, the development of the people along the path of progress and culture is Sultanmakhmut Toraigyrov (1893-1920). He wrote works of acute criticism, telling about unjust life, castigating ignorance and darkness. According to Toraigyrov, the people themselves create their own destiny; for this they need to wake up from their sleep, move forward and develop like other peoples. Showing solidarity with his brothers in the fight against colonialism, S. Toraigyrov in the poem "Tanystyru" ("Acquaintance", 1918) calls Sultanmakhmut Toraigyrov Dulatov, Baitursynov, Bukeikhanov, "sun", "dawn", "moon". Sultanmakhmut enriched Kazakh literature in terms of its artistic and aesthetic development. Along with this, he did a lot to form and develop new genres for Kazakh literature. His novels in verse “Beauty Kamar”, “Who is to blame?”, poems “Lost Life”, “Poor Man”, lyric poems, journalistic, critical articles reveal the diversity and versatility of his artistic quests.
Going beyond the framework of propaganda and appeal poems, he created lyrical poems about nature and beauty that were beautiful in depth and artistry. inner world person. His major works feature the image of a hero who embodies new public views. The poet managed to expose the acute social problems of the development of Kazakh society, which still remained in the shackles of feudal-patriarchal foundations, vegetating in darkness and ignorance (“Who is to blame?”). His poems, based on philosophical understanding time, era, were bright and new examples of the genre of lyric-journalistic poem. We find high examples of realistic art, laid down in Kazakh literature by Abai, in the work of Sultanmakhmut.
Of particular importance in the development of the critical direction of Kazakh literature, the elevation of the ideas of enlightenment through artistic means played the works of Sabit Donentaev (1894-1933), Mukhamedzhan Seralin (1872-1939), Spandiyar Kubeev (1878-1956), Beket Utetileuov (1883-1949), Arip Tanirbergenov (1856-1924), Gumar Karashev (1876-1921), Turmagambet Iztleuov (1882-1939), Berniyaz Kuleev (1899-1923), Narmambet Ormanbetov (1870-1918) and others.
By developing and enriching poetic skills, they made a huge contribution to the artistic understanding of the era. If S. Donentaev developed the genre of poems with a small plot and fables, then S. Kubeev sought to reflect the truth of life in lyrical works. The work of S. Kubeev and B. Utetileuov was closely intertwined with pedagogical activity: both of them taught in aul mektebs. Widely using literature in raising children, writers created a number of works with new ideological content. This is how the novel “Kalym”, stories and poems intended for children by S. Kubeev were born. S. Kubeev and B. Utetileuov translated many works of Russian classics.
M. Seralin contributed not only to the development of Kazakh literature, but also to the development of contemporary journalism. The magazine "Aykap" published by him and his fellow writers (1911-1915) clearly and definitely supported the educational and democratic orientation of Kazakh literature. Seralin wrote poems and translated "Shahname" ("Rustam-Zurab") by Ferdowsi.
In his journalistic works on the pages of "Aykap" M. Seralin, criticizing patriarchal foundations, Special attention devoted to the education of the people, their striving forward, the problem of the Kazakhs’ transition to a sedentary lifestyle. We see certain artistic solutions in the works of G. Karashev and N. Ormanbetov, where the essence of colonialism, the duality of the policy of governing the people, and the backwardness of life in Kazakh society are widely revealed. The author of several books ("Bala Tulpar", "Karlygash", "Aga Tulpar", "Turymtai", etc.) and philosophical reflections, Gumar Karashev acted as a bright, original poet, educator-philosopher, as an artist, faithful to the traditions of Sharia and honor . He met with hope February revolution and the Alash movement, believing in the freedom and independence of its people, later showed solidarity with the Soviet regime. Narmambet, in poetry ("Sary-Arka", "Zaman", etc.) depicted the difficult life of the people, especially manifested as a result of the resettlement policy of tsarism, when the Kazakhs began to be deprived of the best lands and migrate from their native places.
Kazakh poets and writers of the early 20th century are far from equal in their orientation and artistic pursuits. As many talents as there are, they are so different. Many of them were united by revolutionary-democratic and educational-democratic ideas. Everyone who adhered to this direction tried to master the advanced ideas of the literature of progressive peoples. At the same time, there was a whole group of poets who worked in pure national tradition, using the experience of democratic literature of the East. They also criticized ignorance, the injustice of those in power, and the colonial policy of tsarism, but they did not see a way out of this impasse; they found a solution in a return to past “better” times. This group of poets includes Mashkhur Zhusup Kopeev (1858-1931), Nurzhan Naushabaev (1859-1919), Makysh Kaltaev (1869-1916). Their realistic works help us understand the truth of that era. The book by M. Zh. Kopeev "Who owns Sary-Arka?" (Kazan, 1907) was confiscated, and its publisher was subject to a heavy fine. The legacy of M. Zh. Kopeev preserved manuscripts consisting of works of oral folk art and works of Kazakh poets collected by him. The poetry of N. Naushabaev consists mainly of terme, where edifications and instructions prevail. In the work of M. Kaltaev, despite the wide coverage of life and era, there is still a lack of artistry in the image.
Another group of Kazakh poets paid special attention to dastans and hiss, composed under the influence of plots folk works, as well as creations of the East. These include Zhusipbek Shaikhiislamuly (1854-1936), Shadi Zhangiruly (1855-1933), Akylbek Sabauly (1880-1919). All of them had an excellent education and were experts in Arab-Persian literature and thoroughly knew the rich folklore of the people. They published their works either as “dastan” or “hissa” in the printing houses of Kazan, with which they were in close contact. Through these works, at the beginning of the 20th century, hissa became widespread among the people. Interesting stories and the importance of the historical events described played a significant role in this. Among these works are “Kyz Zhibek”, “Munlik-Zarlyk”, “Seyful-Malik”, “Kasym-Zhomart”, “Orka-Kulshe”, “Kharon ar Rashid”, “Kamar Zaman”, “Bozzhigit”, “Tahir- Zukhra", "Nazim" and others.
There were also poets who wrote about historical events in the life of the people and tried to give them a popular assessment. Here it is appropriate to recall the poem by Ygylman Shorekov (1871-1932) “Isatay-Makhambet”. The author does not seek to follow in detail the chronology of historical events, but tries to reveal the image of the batyr Isatay and his friend Makhambet. By dwelling only on the main stages of the uprising, the author was able to reveal its true reasons, show the indisputable authority of Isatai in resolving inter-clan conflicts, and the fearlessness of the hero in his clashes with Zhangir Khan.
During the period under review, the creativity of akyns-musicians, who continued the traditions of Kazakh literature and culture, occupied a prominent place. In the absence of theaters, concert halls, poets and musicians made a huge contribution to the development of the spiritual culture of the people and the enrichment of their theatrical and musical art. Adhering to the traditions of creativity of Birzhan, Ahan-sere, Mukhit, poet-musicians Zhayau Musa Baizhanuly (1835-1929), Baluan Sholak Baimyrzauly (1864-1919), Madi Bapi-uly (1880-1921), Mayra Ualikyzy (1896-1926), Imanzhusip Kutpauly (1863-1929), Aset Naimanbayuly (1867-1923), Ukili Ibrai Sandybai-Shakarim Kudaiberdievuly (1856-1932), Kenen Azerbaev (1884-1976). ) and others created new, democratic-oriented songs and songs. Their significant works glorified the beauty of life and contributed to the formation of high aesthetic feelings in listeners. At the same time, these works also addressed the problems of socially unjust organization of society, and calls were heard for liberation from the colonial yoke. Zhayau Musa, Baluan Sholak, Madi, Imanjusip, Ukili Ibrai experienced the oppression and persecution of the royal authorities. The activities of poets and musicians certainly contributed to the development of truly folk songwriting. They created such classical works, like “Zhayau Musa”, “Kau-lalu”, “Galia”, “Karakesek”, “Maira”, “Imanjusip”, “Gakku”, “Boztorgay”, “Koksholak”. The legacy of poets and musicians is enormous and multifaceted. Here you can find lyrical songs and dastans, and some poets, such as Aset, Kenen, participated in aitys.
A feature of the development of Kazakh literature at the beginning of the 20th century is its connection with the literatures of other peoples. The historical situation contributed to the strengthening of not only socio-economic ties, but also intensified the process of communication in the sphere of spiritual culture. In this movement, the Kazakh periodical press played a significant role, which began with the newspapers “Turkestan Ualayatyn Newspapers (1870-1882) and Dala Ualayatyn Newspapers (1888-1902). Translations from Russian and world literature were published on their pages. classics. Continuing the translation traditions of Abay, A. Tanirbergenov and A. Naimanbaev published excerpts from “Eugene Onegin” by A. Pushkin, and created their own works on similar subjects. Captain's daughter"(translated by M. Bekimov, 1903) and "Dubrovsky" (translated by Sh. Kudaiberdiev, 1912), as well as "Forty Fables" by A. Baitursynov (1909) and "Exemplary Education" by S. Kubeev (1910 g.), B. Utetileuov translated the works of Pushkin, Lermontov, Zhukovsky, Pleshcheev, Krylov.
Great place translations from Russian, Eastern and Western European literature. Among them one can name “Rustem-Zurab” (from “Shahname” by Ferdowsi - translated by M. Seralin), “The Prisoner of Chillon” by D. Byron (translated by A. Galimov), excerpts from “A Thousand and One Nights”, stories by L. Tolstoy and A. Chekhov. Thus, a wide road was opened for mastering the artistic experience of world classical literature. The development of Kazakh literature at the beginning of the century was significantly influenced by the national liberation movement of 1916. The cause of the uprising was the royal decree on the mobilization of Kazakhs for rear work. The people, languishing under the burden of the colonialist yoke, having lost all hope of improving their lives, opposed their rulers. The rebellious people, led by such people's warriors as Amangeldy and Bekbolat, began to crack down on government officials. However, the uprising that began spontaneously, without an organized center of leadership, soon began to decline, and the tsarist soldiers continued to rampage for a long time. Folk literature preserved many works about this uprising. They told about the plight of the people, about the oppression of tsarism, about the struggle for freedom, about the heroism of the rebel people and their leaders. Among the authors of these works one can name Sata Yesenbaev, Kuderi, Omar Shipin, Tuleu Kobdikov, Buzaubekov, Isa Daukebaev, direct participants in the liberation movement who experienced all the difficulties and vicissitudes of this struggle. The poets Omar and Kuderi created zhiry (historical songs) about the legendary Amangeldy, Isa - about Bekbolat. These works have taken their rightful place in the history of Kazakh literature. Their feature was new images folk heroes, specific historical events, problematic.
Some historical songs from the period of the national liberation movement of 1916 are devoted to describing the life of horsemen called up by royal decree. The dastan “Reception” by Birzhan Berdenov tells about the life of zhigits in their native village, about their unusual stay on foreign land, about the unjust nature of the imperialist war, about the growing dissatisfaction with the rule of the tsar and the spread of ideas for his overthrow and, finally, the removal of the tsar from the throne. There are also works written in the form of letters from horsemen from the front and responses to them. Folk poetry, born in 1916, filled with new content and enriched the people's democratic orientation of Kazakh literature of the early 20th century.
The position of the Kazakh people under the colonial system of government continued to remain central problem in the development of literature of the subsequent period. Young talents who came to literature during this period, such as M. Zhumabaev, S. Seifullin, B. Mailin and others, began to publish their first works, continuing the democratic and educational traditions, enriching it with ideas of freedom.
Kazakh literature the beginning of the 20th century was an artistic chronicle of the truth of life of the people of a given historical era.
In the centuries-old history of the development of art artistic word Kazakh people 19th century belongs to 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, Nysanbai, 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 changed not in better side, that her happy time was left behind (“From the nomadic land 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 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 bai, and became one of the leaders of the famous peasant uprising that broke out in the Bukey Horde against Khan Jangir 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 easy for people victory, openly warns that the struggle will be harsh and difficult, will require great sacrifices, 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 social reasons which led to an 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 front of mortal danger, enormous will and endurance, and most importantly - boundless love for the people, readiness to give life for the sake of their happiness. Makhambet dedicated a cycle of poems to Issatay, in which the people’s commander is characterized from different sides: as a devotee and worthy son of his people, a support and protector of the disadvantaged, a brave leader, a wise adviser and a good friend to 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 civic and patriotic motives in it. His poetry reflects the turbulent era of national liberation movements.
Dominant in Kazakh literature first half of the 19th century V. there was a democratic direction. In the work of Makhambet Utemisov it found its most vivid expression, becoming the ideological and artistic basis further development 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.