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What traditional works became the basis of Kazakh literature. volume

What traditional works became the basis of Kazakh literature. volume

03.03.2019

Literary tours in Kazakhstan.

“Phenomena of social, cultural, ethnic hostility are alien to our people: they treat the culture, way of life, customs and traditions of their neighbors with tact, respect and understanding”

N. A. Nazarbaev. President of the Republic of Kazakhstan.

Tours in Kazakhstan and in Borovoye.

The oral-poetic creativity of the Kazakhs, which is rooted in ancient times, is represented by songs, fairy tales, proverbs and sayings, heroic and lyrical-epic poems, aitys (song-poetic competitions folk singers), lyrics (tolgau - philosophical reflections, arnau - dedications, etc.). Kazakh folklore includes over 40 genre varieties, a significant part of which is specific only to it (songs of petition, songs of letters, etc.). Songs are divided into shepherd, ritual, historical and everyday.
Tales are extremely rich; popular heroes Kazakh. fairy tales were Aldar-Kose and Zhirenshe - wits and pranksters, deftly able to deceive their enemies. In the heroic epic, especially in the most ancient poems (“Koblandy”, “Er-Targyn”, “Alpamys”, “Kambar-batyr”, etc.), the exploits of heroes (batyrs) are sung, defending the independence of their native people in constant battles.
No less beloved by the audience were lyrical-epic poems (“Kozy-Korpesh and Bayan-Slu”, “Kyz-Zhibek”, etc.), the main content of which is the faithful and selfless love of young heroes, they sometimes tragic fate. Of the works of oral poetry, the authorship of which can be considered established, the earliest belong to the 15th century. (akyn Kaztugan Suyunish-uly); in the 16th century Asan-Kaigy, whose name has become legendary, Dospambet, Shalkiz are known.
The work of Bukhara-zhyrau Kalkamanov (1693-1787, according to other sources 1686-1799), the author of sharp and politically relevant for his time poems, which, however, expressed feudal ideology, enjoyed great popularity.
At the turn of the XVIII - XIX centuries. in connection with the accession of a significant part of Kazakhstan to Russia, new stage in the development of Kazakh culture, including literature. Akyns Makhambet Utemisov (1804 - 46), Sherniyaz Zharylgasov (1817 - 1881), Suyumbai Aronov (1827 - 1896) called on the people to fight against the oppressors - beys, biys, as well as royal satrap officials.
The creativity of these akyns was democratic in nature; they saw and understood the advantages of introducing K. to the life of Russia. Dulat Babataev (1802-1871), Shortanbay Kanaev (1818-1881), Murat Monkeev (1843-1906) represented a different, clerical-conservative direction in the Kazakhs. culture; they criticized the existing order from the positions of idealization of the patriarchal past, they praised religion (Islam).
In the 2nd half of the XIX century. Akyns Birzhan Kozhagulov (1834-1897), Aset Naimanbaev (1867-1924), poetess Sara Tastanbekova, Akhan Koramsin (Akhan-Sere, 1843-1913), Zhayau-Musa Baizhanov (1835 - 1929), Dzhambul Dzhabaev (1846 - 1945); their names are associated with the rapid development of aitys not only as a form of poetic competition, but also as an effective way to express public opinion against oppression and upholding social justice. IN mid-nineteenth V. Kazakh enlightenment arose.
Its most prominent representatives were the ethnographer and folklorist Chokan Valikhanov (1835 - 1865), the scientist-teacher, writer Ibrai Altynsarin (1841 - 1889), who developed the Kazakh alphabet based on Russian graphics; poet-democrat Abai Kunanbaev (1845 - 1904), innovator of poetic form, creator of an entire poetic school.
All of them promoted advanced Russian culture, called the Kazakh people to follow its path. The work of Abai opens the written Kazakh realistic literature. His lyrics and satire, prosaic philosophical edifications of "Gakliya" reflected the life of the Kazakh society of that time from the standpoint of critical realism. The traditions of Abai were at the beginning of the 20th century. continued by the democratic writers Sultan-mahmut Toraigyrov (1893 - 1920), Sabit Donentaev (1894 - 1933), Spandiyar Kubeev (1878 - 1956), Mukhamedzhan Seralin (1872 - 1929) y.), Beket Utetleuov (1874 - 1946), Tair Zhomartbaev (1891 - 1937), Berniyaz Kuleev (1895 - 1923).
Progressive creative forces were grouped around the magazine "Aikap" (ed. 1911 - 1915). Democratic writers after victory October revolution sided with the Soviet government and served the construction of a new society with literary work. IN late XIX- the beginning of the 20th century existed in the Kazakhs. literature and a group of so-called "scribes" who preached religious and patriarchal views in their works; the most prominent representatives were Nurzhan Naushabaev (1859 - 1919) and Mashur-Zhusup Kopeev (1857 - 1931).
A considerable merit of the "scribes" was their collecting activity (folklore, samples of written literature). Writers of an openly nationalist trend, who after October went over to the camp of ideological opponents of Soviet power (A. Baitursunov, M. Dulatov, M. Zhumabaev), were associated with the reactionary newspaper Kazakh (1913).
Along with written pre-revolutionary Kazakh literature, folklore also developed. The work of such folk akyns as Dzhambul Dzhabaev, Nurpeis Baiganin (1860 - 1945), Doskey Alimbaev (1855 - 1946), Nartai Bekezhanov (1890 - 1954), Omar Shipin (1879 - 1963), Kenen Azerbaev (b. 1884) and others, played significant role in cultural and public life TO.; these akyns created sharply social works that have become widespread among the people. After the October Revolution, they became active builders of Soviet society.
The founders of the Kazakh Soviet literature socialist realism were revolutionary poet Saken Seifullin (189 - 1939), poets Baimagambet Iztolin (1899 - 1921), Ilyas Dzhansugurov (1894 - 1937), writers Beimbet Mailin (1894 - 1939). g.), Mukhtar Auezov (1897 - 1961), Sabit Mukanov (b. 1900). They stood at the source of all genres of modern Kazakh literature, vividly and irreconcilably exposed the social structure of pre-revolutionary reality and its remnants; in their works, for the first time, the hero of the new time made himself known - a man of labor, transforming the world: the poem "Sovetstan" (1925) and the story "The Diggers" (1928) by Seifullin, the story "Communist Raushan" (1929) by Mailin, etc.
In the mid 20s. Kazakh literature was replenished with fresh forces; they were mainly poets: Isa Baizakov (1900 - 1946), Askar Tokmagambetov (b. 1905), Kalmakan Abdukadyrov (1903 - 1964), Tahir Zharokov (1908 -1965), Abdilda Tazhibaev (b. 1909), Gali Ormanov (b. 1907), Dikhan Abilev (b. 1907) and others. They were looking for new visual means: modern themes carried poetry new dictionary, new images and rhythms, although Kazakh Soviet poetry did not break away from the classical realistic tradition laid down by the work of Abai, and from the traditions of oral folk poetry in its best examples.
In the same years, the prose writers Gabiden Mustafin (b. 1902), Gabit Musrepov (b. 1902) and others published their works. bourgeois-nationalist ideology. From 1927, the almanac Zhyl Kusy (The First Swallow) began to appear, and from 1928, the journal Zhana Adebiet (New Literature) began to appear.
30s characterized by a further expansion of the subject of Kazakh literature, a deeper mastery of the principles of socialist realism. The Writers' Union of Kazakhstan was established in 1934, and the first decade of Kazakh literature and art was held in Moscow in 1936. By this time, Kazakh literature had become a multi-genre mature literature, reflecting the pathos of socialist construction. Seifullin's poems "Albatross" (1933) and "Socialistan" (1935) glorify the great Lenin, give pictures of the liberation struggle of the people and their new life; the hero of the story "Fruits" (1935) is a man of free labor.
Mailin's novel "Azamat Azamatych" (1934) depicts the struggle against bourgeois nationalism, the struggle for the collectivization of the Kazakh village. Sattar Yerubayev's (1914-1937) novel My Peers (published posthumously in 1939) is dedicated to the working class. The image of a contemporary was affirmed in the stories of Mailin, Auezov, Musrepov, Alzhappar Abishev (b. 1907), in Dzhansugurov's novel "Comrades" (1933, not completed).
One of the first socio-historical novels in Kazakh literature was Mukanov's novel "The Mysterious Banner" (new editor - "Botagoz", 1938) - about the fate of the people against the backdrop of the events of the 1916 uprising, the October Revolution, the struggle for Soviet power. A picture of the popular uprising of 1916 is also given in Auezov's drama Night Peals (1934). The pinnacle of Kazakh poetry of the 30s. - Dzhansugurov's poems "Steppe" (1930), "Musician" (1935) and "Kulager" (1936), where images of people from the people and folk poets are created.
Plays based on the plots of folk lyrical-epic poems (Aiman-Sholpan, 1934, Auezov; Kozy-Korpesh and Bayan-Slu, 1940, Musrepova, etc.) appeared in dramaturgy, as well as works on contemporary themes, which occupied leading place(plays by Mailin, Tazhibaev; Shakhmet Khusainov, 1906 - 1972).
During the Great Patriotic War of 1941-1945. Kazakh literature, like all Soviet literature, reflected the military and labor feat of the Soviet people. Kazakh poetry of those years gave high examples of civil-patriotic poetry both in lyrical and epic genres: lyric poems by Tokmagambetov, Zharokov, Ormanov, Abu Sarsenbaev (b. 1905), Dzhuban Muldagaliev (b. 1920), Khalizhan Bekkhozhin (b. 1913), Khamid Yergaliyeva (b. 1916) and others were published in newspapers, including front-line newspapers, and were read in the trenches.
The poem of Kasym Amanzholov (1911 - 1955) "The Legend of the Death of a Poet" (1944) was a great success, dedicated to the feat of the poet Abdulla Dzhumagaliev, who died near Moscow. In 1942 he published the lyric-philosophical essays "I want to live" by Baubek Bulkishev (1916 - 1944), who died at the front. The creativity of folk akyns is also imbued with patriotic pathos. Dzhambul's poem "Leningraders, my children!" became popular throughout the country.
The military theme was reflected in the dramaturgy: the plays "The Hour of Trials" (post. 1941) by Auezov, "The Guard of Honor" (1942) by Auezov and Abishev, "Amangeldy" (post. 1936) by Khusainov. The novel about home front workers Shigapak (1945) was published by Mustafin.
In the post-war years, Kazakh literature continued to develop themes related to the past war. The novels “Soldier from Kazakhstan” (1949) by Musrepov, “Kurland” (1950) by Abdijamil Nurneisov (b. 1924), “Terrible Days” (1957) by Tahavi Akhtapov (b. 1923), military memoirs of the writer-warrior Baurdzhan Momyshuly (b. . 1910) "Moscow is behind us" (1959), etc. Military theme was continued by poets - in lyrics and poems: Zharokov's poem about Zoya Kosmodemyanskaya, Muldagaliev's - about Musa Jalil, etc.
In 1956, Auezov completed the tetralogy "The Way of Abai", the first book of which was published in 1942. This work, which received a response in many countries, had a significant impact on both Kazakh and other fraternal literature. National epic traditions are enriched in the epic novel by Auezov with the artistic experience of all Soviet literature. Mukanov ("School of Life", 1949-1953), Musrepov ("The Awakened Land", 1953), Mustafin ("After the Storm", 1959), Khamza Yesenzhanov (b. 1908; "Yaik - a bright river", 1957 - 1960), Nurpeisov (trilogy "Blood and sweat", books 1 - 2, 1959 - 1970), etc.
Many Kazakh writers turned to modern topics in the post-war years. Heroes-contemporaries - rural workers, workers, intellectuals, youth - come to life on the pages of the novels "Syr-Darya" (1947 - 1948) Mukanov, "Privolye" (1949) Gabdula Slanova (1911 - 1969) , "Karaganda" (1952) Mustafin, "Temir-Tau" (books 1 - 2, 1960 1-1962, books 2 under the title "Doctor Darkhanov") Zein Shashkin (1912 - 1966), “Young tribe” (published posthumously, 1962) Auezov, “ White horse"(1962) Takena Alimkulov (b. 1922), "The caravan goes to the sun" (1963) Anuara Alimzhanova (b. 1930), "Beep in the steppe" (1964, together with K. Altai) Mukhamedzhan Karataeva (b. 1910) , "Fight" (1966) by Ilyas Yesenberlin (b. 1915), etc.
In poetry post-war decades especially intensively developed epic forms - plot and lyric poem, a novel in verse. Many poems have been written on historical themes: "Maria, Yegor's daughter" (1949 - 1954) Bekkhozhin, "The Bell in the Steppe" (1957) Gafu Kairbekov (b. 1928), "Kurmangazy" (1958) Yergaliev, "Estai -Khorlan" by Muzafar Alimbaev (b. 1923) and others. Tazhibaev ("Portraits", 1957), Zharokov ("Steel Born in the Steppe", 1954), Muldagaliev (" The fate of a widow”, 1961), Olzhas Suleimenov (b. 1936; “Earth, bow to a man!”, 1961), etc.
Complex social, moral and ethical conflicts are at the center of attention of playwrights: Khusainov's plays "Spring Wind" (1952), Abishev's "One Family" (1948), Tazhibaev's "Before the Wedding" and "Friends" (both - 1964) and others.
Dramaturgy also develops the traditions of the historical and historical-revolutionary genre: “Chokan Valikhanov” (1954) by Mukanov, “Ibrai Altynsarin” (1953) by Musatai Akhinzhanov (b. 1905), “Our Gani” (1957) by Khusainov, “Zhayau-Musa” ( 1965) Zeytina Akisheva (b. 1911) and others.
From the beginning of the 60s. science fiction literature is successfully developing: the stories The Seventh Wave (1964) and From Fire to the Atom by Medeu Sarsekeyev (b. 1936), Alpha Genius (1967) by Shokan Alimbaev (b. 1941), etc.
The traditions of literature for children were laid down by the work of Altynsarin in the middle of the 19th century. In Soviet times, Sapargali Begalin (b. 1895), Utebai Turmanzhanov (b. 1905), Berdibek Sokpakbaev (b. 1924) and others successfully worked in this area.
At the 6th congress of writers of Kazakhstan (1971), the main trends of modern Kazakh literature were recognized as its intellectualism, the scale of searches and the scale of interests, based on the increased demands of readers, on the breadth, comprehensiveness of the problems that concern the Soviet people. This idea is confirmed not only by the work of writers of the older generation, but also by the works of writers who came to literature in the 60s, such as prose writers Azilkhan Nurshaikhov (b. 1922), Magzum Sundetov (b. 1936), Abish Kekilbaev (b. 1939), Satimzhan Sanbaev (b. 1939), Sain Muratbekov (b. 1936), Saken Zhunusov (b. 1934) and others, poets Kadyr Murzaliev (b. 1935), Tumanbai Muldagaliev (b. 1935), Sagi Zhienbaev (b. 1934), Erkesh Ibragim (b. 1930), Mukagali Makataev (b. 1931), Zhumeken Nazhmetdinov (b. 1935) and others.
Literary criticism and criticism in Kazakh literature, which have declared themselves since the beginning of the 30s. in the articles of Seifullin, Dzhansugurov. Auezov, Kazima Dzhumalieva (1907 - 1968), Karataeva, Esmagambet Ismailov (1911 - 1966), in the early 70s. strive to be at the level of the tasks that modern Kazakh literature and the development of literary research thought put before them.
Scientific forces are united by the Institute of Literature and Art. M. O. Auezov Academy of Sciences of the Kazakh SSR. The works of Malik Gabdulin (1915 - 1973), Temirgali Nurtazin (1907 -1973), Beisenbay Kenzhebaev (b. 1904), Belgibay Shalabaev (b. 1911), Aikyn Nurkatov (1928 - 1965) are known. d.), Iskak Dyusenbaev (b. 1910), Serik Kirabaev (b. 1927), Rakhmankul Berdybaev (b. 1927), Myrzabek Duysenov (b. 1928), Tursynbek Kakishev (b. 1928) and others.
Along with Kazakh scientists, Russian literary scholars and critics M.S. Silchenko (1898-1970), M.I. Fetisov (1907-1960), K. L. Zelinsky (1896 - 1970). Z. S. Kedrina (b. 1904), N. S. Smionova (b. 1908), E. V. Lizunova (b. 1926). The literary magazines "Zhuldyz" ("Star"), "Prostor", the literary newspaper "Kazakh Adebieti" (" Kazakh literature»).
Back in the 19th century Kazakh educators Abay Kunanbaev, Ibray Altynsarin translated into Kazakh the works of A. S. Pushkin, M. Yu. Lermontov, I. A. Krylov, L. N. Tolstoy. In Soviet times, the translation into Kazakh of the works of other literatures of the peoples of the USSR and world literature acquired a wide scope. The works of Kazakh writers have been translated into many languages of the peoples of the USSR and other countries.
An important role in the relationship of Kazakh literature with the literatures of other peoples of the USSR was played by the translation activities of L. S. Sobolev, who also wrote a number of literary-critical works on Kazakh literature, A. N. Pantielev, Yu. O. Dombrovsky, I. P. Shukhov, Yu. P. Kazakov, N. I. Anova, A. I. Bragin, poets K. Altaisky, K. Vanshenkin, E. Vinokurov, A. B. Gatov, P. Kuznetsov, M. Lukonin, M. Lvov, and Selvinsky, Y. Smelyakov, D. Onegin, M. Tarlovsky and many others. Over the years of the existence of Kazakh Soviet literature, more than a thousand books of writers of other peoples of the USSR and about 300 works of foreign writers have been translated into Kazakh.
Over 400 books by Kazakh writers have been published in other republics of the country. at the Institute of Literature and Art. M. O. Auezov of the Academy of Sciences of the Kazakh SSR, there is a department that studies the relationship of Kazakh literature with the literatures of other peoples and countries.
The SP of Kazakhstan carries out a great deal of ideological and educational, organizational and creative work, the 1st congress of the SP of Kazakhstan was held in 1934, the 2nd in 1939, the 3rd in 1954, the 4th in 1959, the 5th in 1966, the 6th and in 1971. Sections of Russians and Uigurs work within the SP K. writers; Koreans and Germans also live and work in K. writers.

Literature:
Shalabaev B., Essays on the history of Kazakh pre-revolutionary literature, A.-A., 1958; History of Kazakh literature, vol. 1-3, A.-A, 1968 - 1971; Essay on the history of Kazakh Soviet literature, M., 1960; History of the literatures of peoples Central Asia and Kazakhstan, M., 1960; Karataev M., Kazakh literature, M., 1960; his, From dombra to the book, M., 1969; Kedrina Z. S., From a living source (Essays on Soviet Kazakh literature), 2nd ed., add., A.-A., 1966; Fetisov M. I., The origin of Kazakh journalism, A.-A., 1961; Lizunova E., Modern Kazakh novel, A.-A., 1964; Akhmetov Z. A., Kazakh versification, A.-A., 1964; Sidelnikov V., Bibliographic index in Kazakh oral creativity, V. 1, A.-A., 1951; Kazakh literary connections. Bibliographic index, A.-A., 1968; Grekhovodov N., Danilyuk V., Kosenko P., Writers of Kazakhstan. Biographical reference book, A.-A., 1969; Narymbetov A., Kazakh Soviet literature. Bibliographic index on literary criticism and criticism. 1917-1940, A.-A., 1970; Gabdullin M., Kazak halkynyn auyz edebieti, Almaty, 1958; Zhumaliev K., Cossack epic men edebiyet tarihynyts maseleleri, Almaty, 1958; Kenzhebaev B., Kazak khalkynyn, XX gasyr basyndagy democrat zhazushylary, Almaty, 1958; Tezhibaev E., Cossack dramaturgy son of the lady men kalyptasuy, Almaty, 1971; Cossack folkloristics, Almaty, 1972.

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

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

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

As the Chinese chronicles of the 6th–8th centuries testify, the Turkic-speaking tribes of Kazakhstan by that time already had an oral poetic tradition dating back to more early period. Legends and traditions about the sacred land of Otuken have been preserved. The dreams of a peaceful life were reflected in the legends about the fabulous, inaccessible mountain valley of Ergene-Kong, inaccessible to enemies. Elements epic poetry(epithets, metaphors) are found in the Orkhon monuments - the texts of the tombstones of Kultegin and Bilge-kagan, telling about the events of the 5th-7th centuries. Kultegin's inscription retains the motif of tribal ritual poetry, which later turned into an epic - mourning for the deceased.

Well-known ancient epics on Turkic languages – Korkyt-Ata And Oguzname. The orally circulated epic Korkyt-Ata, which arose in the Kypchak-Oghuz environment of the Syrdarya basin in the 8th–10th centuries, was recorded in the 14th–16th centuries. Turkish writers as Grandfather Korkut's books. Korkut - real face, bek of the Oguz-Kypchak tribe Kiyat, is considered the founder epic genre, the art of healing and musical works for kobyz. The epic consists of 12 poems and stories about the adventures of the Oghuz heroes and heroes. Usun and Kangly tribes are mentioned.

Ogyz-kagan (Oguz-khan), who possessed supernatural power, - the hero of the epic Oguzname, 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, Karliks, Kangars, Kypchaks.

Throughout the existence of the Kazakh poetic tradition up to the 20th century. its obligatory figure was the national 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 for it - songs-petitions, songs-letters, etc. Songs are divided into shepherd, ritual, historical and everyday. Poems can also be divided into heroic, telling about the exploits of heroes, - Koblandy, Er-Targyn, Alpamys, Kambar-batyr etc. and lyrical, glorifying selfless love heroes - Kozy-Korpesh and Bayan-Slu, Kyz-Zhibek and etc.

In the 11th-12th centuries. the first major works appeared at the court of the Karakhanids - a poem Kutatgu bilik(blessed knowledge) (1069) Yusuf Khas-hajib from Balasagun (b. 1015), consisting of 13 thousand couplets. The poem is built in the form of dialogues, sayings, edifications. It was based on episodes and legends of the Zhetysu regions, the Issyk-Kul lake basin and Kashgaria, its acting characters- real historical figures. The main idea of the poem is that knowledge is the only source of well-being for both the rulers and the people.

Among the nomadic Turkic-speaking tribes of Kazakhstan up to the 19th–20th centuries. preserved a kind of monotheistic religion tengrism (the supreme god Ten-Gri - the sky, the power that controls the world), the cult of the mountains - the patrons of the clan, as well as shamanism. 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, since the 9th c. the picture is gradually changing. Nomadic pastoralists continue to practice the cult of Ten-Gri, and Islam is spreading in sedentary agricultural areas, and religious literature begins to develop.

During the spread of Islam literary language remained motley, heterogeneous, written literature developed mainly in cities. Significant place in cultural life the urban population played the works of dervish poets and writers. One of the most famous was the son of a steppe musician, the preacher of Islam Khoja Ahmet Yassawi (d. 1167), the author of a collection of poems of religious and mystical content. Divani Hikmet(book of wisdom). In his work, Yassavi 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 again create the world and everything will be reborn. The books of Yassavi and Bakyrgani were mandatory throughout the following centuries. study guide in the madrasah of Central Asia and Kazakhstan. Hibat ul-Khakaik(Gift of Truth) - the only book by Azib Ahmed Mahmud-uly Yugneki (late 12th century) called for a decent life, hard work, striving for knowledge and humanity.

Most early works oral folk art, whose authorship can be considered established, belong to the 15th century. In the 16th century the works of the legendary Asan-Kaigy, the akyns of Dospambet, Shalkiz, were well known in the 17th century. - Akyn Bukhara-zhyrau Kalkamanov, author of sharp political poems. In Kazakhstan, there is a tradition of holding song and poetry competitions between akyns - aitys. Song genres began to stand out: tolgau - philosophical reflection, arnau - dedication, etc. In the 18-19 centuries. in the works of akyns Makhambet Utemisov, Sherniyaz Zharylgasov, Suyunbay Aronov, new themes appear - calls for a fight against beys 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 public opinion upholding social justice.

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

Chokan Valikhanov (1835-1865) - the first Kazakh scientist, educator, historian, ethnographer, traveler and diplomat. The great-grandson of Khan Ablai, he was born in a pro-Russian oriented family, he taught at the Kazakh school Arabic and got 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 Russian officer and an official, carried out the instructions of 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 Kirghiz (as the Kazakhs were called in the 19th century) - about their history , social tribal structure, manners and customs, myths and legends ( Notes about the Kirghiz).

He was the first to record and translate into Russian part of the heroic epic Manas – Death of Kukotai Khan and his commemoration And, the folk epic poem of Kozy-Korpesh and Bayan-Sulu. In his works, Valikhanov paid much attention to the peculiarities of the improvisational art of akyns, the rhythm of the 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 Kirghiz(Kazakhs),About Islam in the steppe. In the spring of 1861 his Essays on Dzungaria , as well as the main works on the history and culture of Central Asia and the East ( Kirghiz genealogy, About the migrations of the Kirghiz, Traditions and legends of the great Kirghiz-Kaisatsky horde and etc.).

Living in St. Petersburg in 1860-1861 and continuing to work on essays on the history and ethnography of the Kirghiz, he became closely acquainted with the ideas of the Russians. revolutionary democrats, communicates and makes 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 understanding public life, Valikhanov condemned the arbitrariness of the Kazakh feudal lords and the colonial policy of tsarism, spoke in favor of introducing the Kazakhs to Russian culture.

Ibrai Altynsarin (1841–1889) also graduated from a Russian-Kazakh school, worked as a translator in Orenburg, a teacher and a school inspector. At the same time, he sought to open as many Russian schools for Kazakh youth as possible. In 1879, his Primary Guide to Teaching the Kirghiz the Russian Language and the Kirghiz 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 educational character and was part of the social and pedagogical practice. In works Ignorance, Insidious aristocrat he condemned fanaticism and superstition, revealed the reactionary nature of the mullahs, Kipchak Seitkul And wooden house and yurt encouraged pastoralists to engage in agriculture, in Bai's son and the poor's son contrasted the industriousness of the poor with the avarice 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 Fat Wit, excerpt from the epic Koblandy and much more.

Advocate of friendship with the Russian people, founder 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 - early 20th centuries, had a huge impact on the subsequent development of the Kazakh literary language.

Kunanbaev received the classic Eastern education. In the madrasah of Imam Akhmet-Riza, he studied Arabic, Persian, and other oriental languages, got acquainted with classical Persian literature - Ferdowsi, Nizami, Saadi, Hafiz, etc. At the same time, violating the ban on 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 family, devoting himself entirely to self-education. Abay writes poetry, intensively studies Russian culture, is engaged in public library. Acquaintance with Russian political exiles had a strong influence on the formation of the progressive outlook of the poet. He translates into Kazakh the works of A.S. Pushkin, M.Yu. Lermontov, I.A. Krylov, foreign classics, writes Kazakh songs to the words of excerpts from Eugene Onegin. His most famous elegy, set to music, Karangy tunde tau kalgyp– poetic translation of Lermontov Night song of the wanderer Goethe.

The literary heritage of Abay consists of poems, poems, poetic translations and arrangements, prose "edifications". His poetry is distinguished by classical simplicity and grace. 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) and others. His poetry is characterized by deep philosophical meaning and civil sound. In poems Oh my Kazakhs ,octave, That's old age. Mournful thoughts, a bit of a dream ...,Exhausted, I am deceived by everyone around ... there is a critique of feudal foundations. In the collection of artistic and philosophical prose Gaklia(Edification), touched upon historical, pedagogical and legal topics, calls on the people to embark on the path of cultural progressive development, hard and honest work. Well-known poems dedicated to times of the year.

Early 20th century became the heyday of Kazakh literature, which absorbed the features of Kazakh, Eastern and European literature. 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 poetry collection 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, short 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 into Kazakh Pushkin, Lermontov, Krylov, Schiller, was an innovator and reformer of the Kazakh literary language. Spandiyar Kobeev (1878-1956) is known as the translator of Krylov's fables and the author of one of the most significant Kazakh novels Kalym (1913).

Writer and journalist Mukhamedzhan Seraliuly (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 Haykap magazine (1911-1915), around which progressive creative forces were grouped. Sultanmahmud Toraigyrov (1893–1920), who collaborated with the magazine, wrote poems and stories on the topics of inequality; he is the author of the novel Qamar Sulu. Sultan-Makhmut Toraigyrov, Sabit Donentaev, Tair Zhomartbaev and others were also published in the journal.

The name of Magzhan Zhumabay (1893–1937) is associated with the introduction of new poetic forms into the Kazakh versification, and the introduction of a stylistic system into the Kazakh literary language, which has been preserved to this day. He began to write 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 Abai Kunanbayev, was a religious philosopher who tried in a treatise Musylman-shyldyk,sharttars (Orenburg, 1911) substantiate the tenets of Islam with the help of logical method. In the same year, he published one of the first works on the history of the Kazakhs - Genealogy of the Turks, Kirghiz, Kazakhs and Khan dynasties . Shakarim was the author a large number poems, poems and prose works. He translated into verse Dubrovsky Pushkin, considered Byron, Pushkin, Lermontov, Hafiz, Navoi, Kant, Schopenhauer as his teachers.

Religious philosopher Mukhamed Salim Kashimov, known for his works Politeness ,Agitation ,Instruction to the Kazakhs ; was also the author of the story Sad Mariam (1914), which condemned the custom of giving girls in marriage without their consent. In three books published in 1913 Mashgura-Jusup Kopeyuly (1858–1931),What I saw amazing phenomenon in my long life ,Position And About whose land is Saryarka the author sharply speaks out against the policy of Russia and the resettlement of Russian peasants in 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. Around the newspaper "Kazakh" (1913) nationalist forces were grouped - A. Baitursunov, M. Dulatov, M. Zhumabaev, who after 1917 went over to the camp of counter-revolution.

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

In the Soviet period, the work of the Kazakh folk poet-akyn Dzhambul Dzhambaev (1846–1945), who sang tolgau style to the accompaniment of domra, gained the greatest fame in the USSR. From his words, epics were recorded Suranshi Batyr , Utegen-batyr , fairy tales Khan and akyn,The Tale of the Lazy Man and others. After the October Revolution in creativity Jambula new themes - Hymn to October, My motherland, At 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, heroes. The songs of Dzhambul were translated into Russian and the languages of the peoples of the USSR, received a national vocation 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, characterized by psychological richness, concreteness of the image of social life, sincerity and simplicity of narration.

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

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 journal Zhana Adabiet (New Literature) (since 1928) began to appear. In 1934, the Union of Writers of Kazakhstan was created, later sections of Russian and Uyghur writers began to work in its composition.

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

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

In the 1970s, the attention of readers was attracted by the book of the Kazakh poet and writer Olzhas Suleimenov (b. 1936 )Az and me (1975), known for his collections good time sunrise (1961),Over white rivers (1970),Repeating at noon (1975). In it, he developed ideas about the relationship of the Kazakhs and the ancient Sumerians, drew attention to a large number of words Turkic origin in Russian, which, in his opinion, spoke of a strong influence Turkic culture into Russian. IN lively discussion, unfolding 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 the methods of deconstruction and "densification" of the text (see POSTMODERNISM IN LITERATURE) - B. Kanapyanov, D. Amantai. The works of well-known and little-known authors are comprehended in a new way - Smagul Saduakasov, Kokserek and other short stories by M. Auezov, End of the legend, abyss, bay horse Abisha Kekilbaya, Time of Troubles, Greyhound death 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. Jambul. M., 1955
Creativity Dzhambul. Articles, notes, materials. Ed. N. Smirnova. Alma-Ata, 1956
Auezov M.O. Abay. Tt. 1–2. M., 1958
Karataev M., October Born. 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

The most famous ancient epics in the Turkic languages were formed - "Korkyt-Ata" and "Oguzname". The orally circulated epic "Korkyt-Ata", which arose in the Kypchak-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 man, bek of the Oguz-Kypchak tribe of kiyat, who is considered the founder of the epic genre and musical works for kobyz. The epos "Korkyt-Ata" consists of 12 poems and stories about the adventures of the Oguz heroes and heroes. It mentions such Turkic tribes as Usuns and Kangly.

Heroic and lyric poems

From the moment of the birth of the Kazakh poetic tradition, its main and obligatory figure was the national poet-improviser - akyn. It is thanks to the akyns that numerous epic works, fairy tales, songs, poems, written several centuries ago, have come down to us. Kazakh folklore includes more than 40 genre varieties, some of which are characteristic only for it - songs-petitions, songs-letters, etc. Songs, in turn, are divided into shepherd's, ritual, historical and everyday. 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 the selfless love of heroes (“Goats- Korpesh and Bayan-Sulu", "Kyz-Zhibek").

Kazakh oral literature of the XV-XIX centuries

In the history of Kazakh literature, poetry and poetic genres occupy a dominant position. There are three distinct periods in the development of Kazakh poetry:

The earliest works of Kazakh oral folk art, whose authorship can be considered established, belong to c. In the XVI-XVII centuries. the works of the legendary Asan-Kaigy, the akyns Dospambet, Shalkiz, as well as Bukhar-zhyrau Kalkamanov, the author of sharp political poems, were well known. In Kazakhstan, a tradition has developed of holding song and poetry competitions between akyns - the so-called aitys. Such genres of songs began to stand out, such as tolgau - philosophical reflection, arnau - dedication, etc. In the 18th-19th centuries. in the works of Kazakh akyns Makhambet Utemisov, Sherniyaz Zharylgasov, Suyunbay Aronov, new themes appear - calls for a fight against beys 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 II half of XIX V. - Birzhan Kozhagulov, Aset Naimanbaev, Sara Tastanbekova, Zhambyl Zhabaev and others - used aitys as a form of expression of public opinion, defending social justice.

The origin of Kazakh written literature

Kazakh written literature in its modern form begins to take shape only in the second half of the 19th century. under the influence of contacts and dialogues with Russian and Western cultures. Prominent Kazakh educators such as Shokan Valikhanov, Ibrai Altynsarin and Abai Kunanbaev stand at the origins of this process.

Early 20th century was 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, new stylistic forms appeared.

The emerging Kazakh literature mastered major literary forms, still unknown to Kazakh writers - novels, stories. At this time, the poet and prose writer Mirzhakip Dulatov, the author of several poetry collections and the first Kazakh novel "Unfortunate Zhamal" (), 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, was a reformer of the Kazakh literary language.

At the end of XIX - beginning of XX centuries. a group of "scribes", which included Nurzhan Naushabaev, Mashur-Zhusup Kopeev and others, actively preached patriarchal views and collected folklore material. Around the newspaper "Kazakh" nationalist forces were grouped - Akhmet Baitursynov, Mirzhakip Dulatov, Magzhan Zhumabaev, who after 1917 went over to the camp of counter-revolution.

Creativity of Zhambyl Zhabaev

In the Soviet period, the work of the Kazakh folk poet-akyn Zhambyl Zhabaev, who sang to the accompaniment of a dombra in the tolgau style, became most famous in the USSR. Many epics were recorded 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 Lenin's Mausoleum", "Lenin and Stalin"). His songs included almost all the heroes of the Soviet power pantheon, they were given the features of heroes, heroes. Zhambul's songs were translated into Russian and the languages of the peoples of the USSR, received national recognition and were fully used by Soviet propaganda. During the Great Patriotic War, Zhambyl wrote patriotic works calling on 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

Poets Saken Seifulin, Baimagambet Iztolin, Ilyas Dzhansugurov, writers Mukhtar Auezov, Sabit Mukanov, Beimbet Mailin became the founders of the Kazakh Soviet literature.

Modern Kazakh literature

The literature of Kazakhstan in the late 1990s - early 2000s can be characterized by attempts to comprehend postmodern Western experiments in literature and use them in Kazakh literature. Also, many works of well-known and little-known Kazakh authors began to be comprehended 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.

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An excerpt characterizing Kazakh literature

- Yes, it was you, prince, who let your men go? - said Catherine's old man, contemptuously turning to Bolkonsky.
- The small estate did not bring income, - answered Bolkonsky, so as not to irritate the old man in vain, trying to soften his act before him.
- Vous craignez d "etre en retard, [Afraid to be late,] - said the old man, looking at Kochubey.
“I don’t understand one thing,” the old man continued, “who will plow the land, if they are given freedom? It is easy to write laws, but difficult to manage. It's all the same as it is now, I ask you, count, who will be the head of the chambers, when will everyone have their exams?
“Those who will pass the exams, I think,” answered Kochubey, crossing his legs and looking around.
- Here Pryanichnikov serves me, a nice man, a gold man, and he is 60 years old, will he go to exams? ...
“Yes, it’s difficult, since education is very little widespread, but ...” Count Kochubey did not finish, he got up and, taking Prince Andrei by the hand, went towards the incoming tall, bald, blond man, about forty, with a large open forehead and an extraordinary, strange whiteness of an oblong face. The newcomer was wearing a blue tailcoat, a cross around his neck and a star on the left side of his chest. It was Speransky. Prince Andrei immediately recognized him and something trembled in his soul, as happens at important moments in life. Whether it was respect, envy, expectation, he did not know. The whole figure of Speransky had a special type, by which one could now recognize him. In no one of the society in which Prince Andrei lived did he see this calmness and self-confidence of awkward and stupid movements, in no one did he see such a firm and at the same time soft look of half-closed and somewhat moist eyes, he did not see such a firmness of an insignificant smile , such a thin, even, quiet voice, and, most importantly, such a delicate whiteness of the face and especially the hands, somewhat wide, but unusually plump, tender and white. Prince Andrei saw such whiteness and tenderness of the face only among soldiers who had been in the hospital for a long time. It was Speransky, Secretary of State, the speaker of the sovereign and his companion in Erfurt, where he met and spoke with Napoleon more than once.
Speransky did not shift his eyes from one face to another, as one involuntarily does when entering a large society, and was in no hurry to speak. He spoke quietly, with the assurance that they would listen to him, and looked only at the face with which he spoke.
Prince Andrey followed Speransky's every word and movement with particular attention. As happens with people, especially with those who strictly judge their neighbors, Prince Andrei, meeting a new person, especially one like Speransky, whom he knew by reputation, always expected to find in him the complete perfection of human virtues.
Speransky told Kochubey that he was sorry that he could not come earlier because he was detained at the palace. He did not say that the sovereign had detained him. And this affectation of modesty was noticed by Prince Andrei. When Kochubey called Prince Andrei to him, Speransky slowly turned his eyes to Bolkonsky with the same smile and silently began to look at him.
“I am very glad to meet you, I have heard about you, like everyone else,” he said.
Kochubey said a few words about the reception given to Bolkonsky by Arakcheev. Speransky smiled more.
“My good friend, Mr. Magnitsky, is the director of the commission of military regulations,” he said, finishing every syllable and every word, “and if you wish, I can put you in touch with him. (He paused at the point.) I hope you find in him sympathy and a desire to promote all that is reasonable.
A circle immediately formed around Speransky, and the old man who had been talking about his official, Pryanichnikov, also turned to Speransky with a question.
Prince Andrei, without entering into a conversation, observed all the movements of Speransky, this man, recently an insignificant seminarian and now in his hands - these white, plump hands, who had the fate of Russia, as Bolkonsky thought. Prince Andrei was struck by the extraordinary, contemptuous calmness with which Speransky answered the old man. He seemed to address him with his condescending word from an immeasurable height. When the old man began to speak too loudly, Speransky smiled and said that he could not judge the advantage or disadvantage of whatever the sovereign wanted.
After talking for some time in a general circle, Speransky got up and, going up to Prince Andrei, took him with him to the other end of the room. It was evident that he considered it necessary to deal with Bolkonsky.
“I didn’t have time to talk to you, prince, in the midst of that animated conversation in which this venerable old man was involved,” he said, smiling meekly contemptuously and with this smile, as if acknowledging that he, together with Prince Andrei, understands the insignificance of those people with whom he just spoke. This appeal flattered Prince Andrei. - I have known you for a long time: firstly, in your case about your peasants, this is our first example, to which it would be so desirable to have more followers; and secondly, because you are one of those chamberlains who did not consider themselves offended by the new decree on court ranks, causing such rumors and gossip.
- Yes, - said Prince Andrei, - my father did not want me to use this right; I started my service from the lower ranks.
- Your father, a man of the old age, obviously stands above our contemporaries, who so condemn this measure, which restores only natural justice.
“I think, however, that there is a basis in these condemnations ...” said Prince Andrei, trying to fight the influence of Speransky, which he began to feel. It was unpleasant for him to agree with him in everything: he wanted to contradict. Prince Andrei, who usually spoke easily and well, now felt difficulty in expressing himself when speaking with Speransky. He was too busy observing the personality of a famous person.
“There may be grounds for personal ambition,” Speransky quietly put in his word.
“Partly for the state,” said Prince Andrei.
- How do you understand? ... - Speransky said, quietly lowering his eyes.
“I am an admirer of Montesquieu,” said Prince Andrew. - And his idea that le principe des monarchies est l "honneur, me parait incontestable. Certains droits et privileges de la noblesse me paraissent etre des moyens de soutenir ce sentiment. [the basis of monarchies is honor, it seems to me undoubted. Some rights and the privileges of the nobility seem to me to be the means of sustaining this feeling.]
The smile disappeared from Speransky's white face, and his countenance benefited greatly from this. Probably the thought of Prince Andrei seemed entertaining to him.
“Si vous envisagez la question sous ce point de vue, [If you look at the subject like that],” he began, speaking French with obvious difficulty and speaking even more slowly than Russian, but perfectly calm. He said that honor, l "honneur, cannot be supported by advantages harmful to the course of service, that honor, l" honneur, is either: a negative concept of not doing reprehensible acts, or a well-known source of competition for obtaining approval and awards expressing it.
His arguments were concise, simple and clear.
The institution that maintains this honor, the source of competition, is an institution similar to the Legion d "honneur [Order of the Legion of Honor] of the great Emperor Napoleon, which does not harm, but contributes to the success of the service, and not class or court advantage.
“I do not argue, but it cannot be denied that the advantage of the court achieved the same goal,” said Prince Andrei: “every courtier considers himself obliged to adequately bear his position.
“But you didn’t want to take advantage of it, prince,” said Speransky, showing with a smile that he, an awkward argument for his interlocutor, wants to end with courtesy. “If you do me the honor of welcoming me on Wednesday,” he added, “then I, after talking with Magnitsky, will tell you what may interest you, and besides, I will have the pleasure of talking with you in more detail. - He, closing his eyes, bowed, and a la francaise, [in the French manner,] without saying goodbye, trying to be unnoticed, left the hall.

During the first time of his stay in St. Petersburg, Prince Andrei felt his entire frame of mind, developed in his solitary life, completely obscured by those petty worries that seized him in St. Petersburg.
In the evening, returning home, he wrote down in his memory book 4 or 5 necessary visits or rendez vous [dates] at the appointed hours. The mechanism of life, the order of the day is such that everywhere to keep up on time, they took away a large share the very energy of life. He did nothing, did not even think about anything and did not have time to think, but only spoke and successfully said what he had managed to think over in the village before.
He sometimes noticed with displeasure that it happened to him on the same day, in different societies, to repeat the same thing. But he was so busy all day long that he did not have time to think that he did not think anything.
Speransky, both on the first meeting with him at Kochubey’s, and then in the middle of the house, where Speransky, face to face, having received Bolkonsky, talked with him for a long time and trustingly, made strong impression to Prince Andrew.
Prince Andrei considered such a huge number of people to be contemptible and insignificant creatures, he so wanted to find in another a living ideal of that perfection to which he aspired, that he easily believed that in Speransky he found this ideal of a completely reasonable and virtuous person. If Speransky had been from the same society from which Prince Andrei was, of the same upbringing and moral habits, then Bolkonsky would soon have found his weak, human, non-heroic sides, but now this logical mindset, strange to him, inspired him all the more respect that he did not quite understand it. In addition, Speransky, whether because he appreciated the abilities of Prince Andrei, or because he found it necessary to acquire him for himself, Speransky flirted with Prince Andrei with his impartial, calm mind and flattered Prince Andrei with that subtle flattery, combined with arrogance, which consists in tacit recognition his interlocutor with himself, together with the only person capable of understanding all the stupidity of everyone else, and the rationality and depth of his thoughts.
During their long conversation on Wednesday evening, Speransky said more than once: “We look at everything that comes out of the general level of an inveterate habit ...” or with a smile: “But we want the wolves to be fed and the sheep safe ...” or : "They cannot understand this ..." and all with such an expression that said: "We: you and I, we understand what they are and who we are."
This first, long conversation with Speransky only strengthened in Prince Andrei the feeling with which he saw Speransky for the first time. He saw in him a reasonable, strict-thinking, huge mind of a man who had achieved power with energy and perseverance and was using it only for the good of Russia. Speransky, in the eyes of Prince Andrei, was precisely that person who rationally explains all the phenomena of life, recognizes as valid only what is reasonable, and knows how to apply the measure of rationality to everything, which he himself so wanted to be. Everything seemed so simple, clear in Speransky's presentation that Prince Andrei involuntarily agreed with him in everything. If he objected and argued, it was only because he wanted on purpose to be independent and not completely obey the opinions of Speransky. Everything was like that, everything was fine, but one thing confused Prince Andrei: it was Speransky’s cold, mirror-like look, not letting in his soul, and his white, tender hand, which Prince Andrei involuntarily looked at, as they usually look at people’s hands, having power. For some reason, this mirror look and this gentle hand irritated Prince Andrei. Prince Andrei was also unpleasantly struck by the too great contempt for people that he noticed in Speransky, and the variety of methods in the evidence that he cited in support of his opinions. He used all possible tools of thought, excluding comparisons, and too boldly, as it seemed to Prince Andrei, he moved from one to another. Now he took the ground of a practical figure and condemned the dreamers, then he took the ground of a satirist and ironically laughed at his opponents, then he became strictly logical, then he suddenly rose into the realm of metaphysics. (He used this last instrument of proof with particular frequency.) He carried the question to metaphysical heights, passed into the definitions of space, time, thought, and, bringing refutations from there, again descended to the ground of the dispute.

Fiction. Early 20th century - a special period in the history of Kazakh literature. The modern literary Kazakh language is taking shape, new stylistic forms are emerging, Kazakh writers are mastering new genres.
One of the outstanding literary figures of the early 20th century. — Ahmet Baitursyn. He was born on January 28, 1873 in the Sartubek tract of the Torgai district, in the family of an influential Kazakh sardar (ancestor) Baitursyn Shoshakuly. Akhmet's father, who actively fought against the colonial authorities, was convicted in 1885 of armed resistance to the district authorities and, together with his brothers, was exiled to hard labor. Left without a father and immediate family. Akhmet graduated with great difficulty from the course of the Torgai School and went to Orenburg to continue his education. Since 1895, Ahmet Baitursyn has been engaged in pedagogical and literary activities. His first poetic works were translations of Krylov's fables, the collection "Kyryk Mysal", which went through several editions, was very popular among the Kazakhs. In Orenburg in 1911, a collection of poems by A. Baitursyn "Masa" was published. He also wrote a number of articles on the Kazakh language, where he stands for the purity of the language, its liberation from Russian and Tatar words. Akhmet Baitursyn can be called the founder of Kazakh linguistics.
A major phenomenon of Kazakh literature at the beginning of the 20th century. - Myrzhakyp Dulatuly, who was born on November 25, 1885 in the Sarykopa volost of the Torgai district. Myrzhakyp studied at the aul mekteb, a Russian school, then continued his education on his own. Thanks to hard work, he perfectly mastered the Russian language, studied the work of Russian and foreign writers.
Dulatuly is known as a poet and prose writer, he is the author of several collections of poetry and the first Kazakh novel "Unfortunate Jamal" (1910). The novel aroused great interest among Russian critics and the Kazakh public, withstood two editions. Except original works, Myrzhakyp Dulatuly was engaged in translations of Pushkin, Lermontov, Krylov, Schiller. He was a tireless innovator and reformer of the Kazakh literary language, introduced new words and concepts into his works.
A special place in Kazakh poetry is occupied by the work of Magzhan Zhumabay (1893-1937). The introduction of new poetic forms into the Kazakh versification is associated with his name. WITH with good reason it can be argued that the stylistic system of Magzhan actually dominates the stylistic structure of the modern Kazakh language. His influence on Kazakh poetry is comparable only to the influence of Abai.
Magzhan began to write poetry at the age of 14, his works were published in almost all newspapers and magazines in the Kazakh and Tatar languages. In 1912, the first collection of his poems "Sholpan" was published in Kazan.
At the beginning of the XX century. the creative path of the talented Kazakh prose writer and playwright Zhusipbek Aimauytuly (1889-1931) begins. After graduating from the aul mekteb, he continued his education at the Russian-Kazakh school, and in 1914. entered the Semipalatinsk teacher's seminary. The main works were created by him in the Soviet era, although in 1917 he already contributed to the Abay magazine.
A talented writer and journalist Mukhamedzhan Seralyuly (1872-1929) left a significant mark in Kazakh literature. He was born in the family of a famous akyn in the Kostanay region, studied at the Trinity Madrasah and the Kostanay two-class Russian-Kazakh school. In 1900, his first book, Top Jargan, was published, and in 1903, Gulgashima. In 1914 Mukhamedzhan translated the poem "Rustem-Zorab" from "Shahnameh" by Ferdowsi. However, the main thing was not literary, but his journalistic activity. The magazine "Aykdp", of which he was the editor-in-chief, became a significant phenomenon in the cultural life of Kazakhstan of this period.
By the beginning of the XX century. refers to the work of Spandiyar Kobeev (1878-1956), who was born in the Mendygarinsky district of the Kostanay region. Kobeev's creative path began with the translation of works by Russian writers. In 1910, a collection of I. Krylov's fables translated by him was published. The novel "Kalym" published in 1913 was a significant event in the history of Kazakh literature.
One of the prominent figures of Kazakh literature of the early XX century. was Sultanmakhmud Toraigyrov (1893-1920). He was born in Bayan-aul, was educated in the mektebe and the Trinity Madrasah. In 1913-1914. Toraigyrov collaborated in the Aikap magazine, where he publishes the first poems and stories that gravitate mainly to the topic social inequality. Then he begins work on the novel "Kamar Sulu".
Philosophical and ethical literature. big development received at the beginning of the 20th century. philosophical and ethical literature, prominent representatives which were Shakarim Kutsayberdyuly, Mukhammed Salim Kashimov, Mashgur-Jusup Kopeiuly.
A special role in the development of the Kazakh philosophical thought belongs to Shakarim Kutsayberdyuly (1858-1931). Shakarim, nephew of Abai Kunanbayuly was born on July 11, 1858 in the Shyn-gys mountains. Shakarim was a religious philosopher, but unlike the scholastic school, he tried to substantiate the basic tenets of Islam using a rational (logical) method.
In the preface to his verse translation novel "Dubrovsky" Shakarim names his teachers: Byron, Pushkin, Lermontov, Nekrasov, Hafiz, Nauai, Fizuli, Kant, Schopenhauer, etc. The first philosophical work there was a work “Musylman-shyldyk, sharttars”, published in Orenburg in 1911. In the same year, “The genealogy of the Turks, Kirghiz, Kazakhs and Khan dynasties” was published - one of the first works on the history of the Kazakhs.
However, Shakarim left us not only philosophical and historical works, but also a huge number of poems, poems and prose works. With good reason, it can be argued that Shakarim Kudaiberdyuly is one of the most significant figures in the Kazakh literature of the early 20th century.
A prominent representative of the clerical-philosophical direction of Kazakh literature was Mashgur-Zhusup Kopeyuly (1858-1931). In 1907, three of his books were published in Kazan at once: “The amazing phenomenon I saw in my long life”, “Regulations”, “On whose land is Saryarka”. In them, the author sharply spoke out against the colonial policy of Russia, the resettlement of peasants in Kazakhstan, calls on the Kazakhs to be more actively involved in political life countries.
In his unpublished works, Mashgur Zhusup gave an interpretation to a number of moral and ethical categories, his philosophical works played a certain role in the development of Kazakh philosophical thought.
Mukhamed Salim Kashimov was also a representative of religious philosophy. In his works "Politeness", "Agitation", "Book of Reason", "Instruction to the Kazakhs" he gives pedagogical instructions, expounds his philosophical and socio-political views. In addition to purely philosophical works, Kashimov wrote the story "Sad Mariam" (1914), in which the author condemns the customs of marriage, when girls are given in marriage without their consent.
Makysh Kaltaev, Tair Zhomartbaev, Sabit Donentaev and other writers and poets left a big mark in Kazakh literature.
In general, the beginning of the XX century. became a period special flourishing Kazakh written literature, which absorbed the best features of Kazakh, Eastern and European literature. At this time, the foundations of modern Kazakh literature were laid, and the literary language was finally formed.

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 tombstones of Kultegin and Bilge-Kagan, telling about the events of the 5th-7th centuries.

Epos "Korkyt-Ata" and "Oguzname"

On the territory of modern Kazakhstan, the most famous ancient epics in the Turkic languages - "Korkyt-Ata" and "Oguzname" - have developed. The orally circulated epic "Korkyt-Ata", which arose in the Kypchak-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, a bek of the Oguz-Kypchak tribe of kiyat, who is considered the founder of the epic genre and musical works for kobyz. The epos "Korkyt-Ata" consists of 12 poems and stories about the adventures of the Oguz heroes and heroes. It mentions such Turkic tribes as Usuns 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). Also in this work, the question of the origin of the Slavs, Karluks, Kangars, Kypchaks and other tribes is discussed.

Heroic and lyric poems

It is no secret that even from the moment of the birth of the Kazakh poetic tradition, its main and obligatory figure was the national poet-improviser - akyn. It is thanks to the akyns that numerous epic works, fairy tales, songs, poems, written several centuries ago, have come down to us. Kazakh folklore includes more than 40 genre varieties, some of which are characteristic only for it - songs-petitions, songs-letters, etc. Songs, in turn, are divided into shepherd's, ritual, historical and everyday. 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 the selfless love of heroes (“Goats- Korpesh and Bayan-Sulu", "Kyz-Zhibek").

Creativity of Zhambyl Zhabaev

Literature of the second quarter of the 20th century

The founders of Kazakh Soviet literature were poets Saken Seifullin, Baimagambet Iztolin, Ilyas Dzhansugurov, writers Mukhtar Auezov, Sabit Mukanov, Beimbet Mailin.

Modern Kazakh literature

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.

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