Kazakh literature of the 19th century in the Kazakh language. Works of the classics of Kazakh literature

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 have developed on Turkic languages- "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 Oghuz-Kypchak tribe Kiyat, who is considered the founder 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, like 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 since 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. 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").

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 unfamiliar 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 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 years of 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 poets Saken Seifullin, Baimagambet Iztolin, Ilyas Dzhansugurov, writers Mukhtar Auezov, Sabit Mukanov, Beimbet Mailin.

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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The revolutionary movement of the beginning of the 20th century in Russia affected the situation of the national outskirts, including Kazakhstan. The few national intelligentsia, taking advantage of this situation, began the struggle for independence and freedom, for the awakening of the people from centuries of sleep, for deliverance from the double oppression: the colonial yoke of tsarism and local patriarchal-tribal violence. The intelligentsia led the people to the road of independence, agitated for the mastery of knowledge, science, and art. In this process, not last role Kazakh literature played, contributing to the reflection of the life of the Kazakh people and the protection of their interests. The advanced part of the Kazakh writers and poets, continuing the educational, democratic traditions of Abay, tried to link them with the idea of ​​fighting colonialism. The revolutionary-democratic orientation of the literary, creative, socio-political activities of Akhmet Baitursynov and Mirzhakyp Dulatov, who were at the head of national movement, is obvious. They attached particular importance to the idea of ​​national liberation not only in their creative work, but also in their social and political activities. This is confirmed by their participation in the national revolution of 1905, the demand for the independence of the Kazakhs at the congress of the constitutional democratic party, the purposeful development of this idea on the pages of the newspaper "Kazakh" (1913-1918), as well as an attempt to create the Alash autonomy after the fall of tsarism.

Akhmet Baitursynov (1873-1937) is a poet who enriched the Kazakh literature of the early 20th century with the idea of ​​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 to knowledge, science, culture. Great is the poet's desire to awaken a sense of high citizenship among his compatriots. If in the lines:

Like migratory geese, we searched for cool shelter 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 from the colonial yoke, then in the following lines:

We are like in a boat without oars

In the sea wide without edge.

The wind will blow, the waves will rise,

And we are sailing, losing the landmark.

it is obvious that without independence and freedom the future of the nation is illusory, uncertain.

Naming his collection "Masa" (which means "Mosquito" in translation), the poet put into the title certain meaning, trying to wake up the "sleeping" people, annoyingly and constantly buzzing like a mosquito.

Oh Kazakhs, my people.

Hard life

But you are not broken. plundered cattle,

In the darkness of the soul, Wake up, open your eyes.

Didn't get 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 by free translation, filling them with examples from Kazakh life. In the fables, the vices common among the Kazakhs are ridiculed, social injustice is condemned.

Akhmet Baitursynov - reformer of the Kazakh language. He created an alphabet based on Arabic script. Started in 1912, this work was officially accepted in 1924 as "Jana Emle" ("The 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 for everything 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) was Akhmet's comrade-in-arms, who went along with him both during the years of the 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 sharply. Influencing the minds and hearts of his readers, he draws their attention to the responsibility of each individual before the people. Revealing the negative aspects of the life of contemporary Kazakh society, M. Dulatov calls on his compatriots to a new life, calls to learn good things from other peoples, stands up for science, education, equality of women:

Don't deviate from the path

Freedom, equality and brotherhood

If you're faithful to it,

Your human duty is clear.

in these lines, not only the humanistic position of Mirzhakyp, here is 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 imprisoned several times. However, this did not break the poet, he also actively continued his literary and journalistic activities. During this period, he published the novel "Unfortunate Jamal" (Orenburg, 1910), collections of works "Azamat" (Orenburg, 1913), "Terme" (Orenburg, 1915). Since 1913, he, permanently residing in Orenburg, together with Akhmet Baitursynov publishes the newspaper "Kazakh".

"Unfortunate Jamal" is the first Kazakh novel by the time of creation. It describes the hard fate of the girl Jamal, who became a victim of patriarchal tribal customs and prejudices. At the same time, the novel shows the conflict of the coming new with the dying old, the clash of views younger generation with the guardians of age-old foundations. The novel is also attractive by revealing the process of the birth 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 a sharp critical orientation, telling about an unfair life, scourging ignorance and darkness. According to Toraigyrov, the people themselves create their own destiny, for this they need to wake up from sleep, move forward and develop like other peoples. Showing solidarity with the 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 for the formation and development of 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 quest.

Leaving the framework of agitation-conscription poems, he created lyrical poems, beautiful in depth and artistry, about nature and the inner world of man. In his major works, the image of a hero appears, embodying new social views. The poet managed to expose the acute social problems of the development of Kazakh society, which still remained in the feudal-patriarchal foundations, vegetated in darkness and ignorance ("Who is to blame?"). His poems, built on the philosophical understanding of time, era, were bright and new examples of the genre of lyric-journalistic poem. High examples of realistic art, laid down in the Kazakh literature by Abay, we find in the work of Sultanmakhmut.

Of particular importance in the development of the critical direction of Kazakh literature, the exaltation of the ideas of enlightenment through artistic means the works of Sabit Donentaev (1894-1933), Mukhamedzhan Seralin (1872-1939), Spandiyar Kubeev (1878-1956), Beket Utetileuov (1883-1949), Aripa Tanirbergenov (1856-1924), Gumar Karashev (1876-1921), Turmagambet Iztleuov (1882-1939), Berniyaz Kuleev (1899-1923), Narmambet Ormanbetov (1870-1918) and others.

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 the upbringing of children, the writers created a number of works of new ideological content. So the novel "Kalym", novels 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 "Aikap" (1911-1915) published by him and his fellow writers clearly and definitely supported the educational and democratic orientation of Kazakh literature. Seralin wrote poems, translated "Shahname" ("Rustam-Zurab") by Ferdowsi.

In their journalistic works on the pages of "Aikap" M. Seralin, criticizing the patriarchal foundations, paid special attention to the enlightenment of the people, their striving forward, the problem of the transition of the Kazakhs to a settled way of life. 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, the backwardness of the life of Kazakh society are widely disclosed. 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 welcomed with hope February Revolution and the Alash movement, believing in the freedom and independence of its people, later showed solidarity with Soviet power. Narmambet, in his verses ("Sary-Arka", "Zaman", etc.), depicted the hard life of the people, especially manifested as a result of the migration policy of tsarism, when the Kazakhs began to lose their best lands and migrate from their native places.

Kazakh poets-writers of the early 20th century are far from equal in their orientation and artistic quest. As many talents as they are different. Many of them were united by revolutionary-democratic and educational-democratic ideas. All those 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 a purely national tradition using experience democratic literature East. They also criticized ignorance, the injustice of those in power, 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. These poets include 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 subjected to a heavy fine. The legacy of M. Zh. Kopeev preserved manuscripts consisting of the works of oral folk art collected by him and the works of Kazakh poets. The poetry of N. Naushabaev consists mainly of terme, where edification and instructions prevail. In the work of M. Kaltaev, despite the wide coverage of life and era, the artistry of the image is still lacking.

Another group of Kazakh poets paid special attention to dastans and hiss, composed under the influence of the plots of 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 excellent education and were connoisseurs of Arab-Persian literature, thoroughly knew the richest folklore of the people. They published their works either as "dastan", or as "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 plots and the importance of the described historical events played an important role in this. Among these works are "Kyz Zhibek", "Munlik-Zarlyk", "Seyful-Malik", "Kassym-Jomart", "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 Ygylman Shorekov's (1871-1932) poem "Isatai-Mahambet". The author does not seek to follow the chronology of historical events in detail, but tries to reveal the image of the batyr Isatai and his friend Makhambet. Stopping only at the main stages of the uprising, the author was able to reveal its true causes, to show the indisputable authority of Isatai in resolving inter-clan conflicts, the fearlessness of the batyr in his skirmishes with Zhangir Khan.

In the period under review, a prominent place is occupied by the work of akyns-musicians who continued the traditions of Kazakh literature and culture. In the absence of theaters, concert halls, poets-musicians made a huge contribution to the development of the spiritual culture of the people, to the enrichment of their theatrical and musical art. Adhering to the traditions of Birzhan, Akhan-sere, Mukhita, poets-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 orientations, songs and zhyrs. Their significant works glorified the beauty of life, contributed to the formation of high aesthetic feelings among listeners. At the same time, in these creations, the problems of socially unjust arrangement of society were touched upon, and calls were heard for liberation from the colonial yoke. Zhayau Musa, Baluan Sholak, Madi, Imanzhusip, Ukili Ibrai experienced the harassment and persecution of the tsarist authorities. The activities of poets-musicians, of course, contributed to the development of truly folk songwriting. They created such classical works, as "Zhayau Musa", "Kau-lalu", "Galia", "Karakesek", "Maira", "Imanjusip", "Gakku", "Boztorgai", "Koksholak". The heritage of poets-musicians is huge 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 field of spiritual culture. In this movement, the Kazakh periodical press played a significant role, the beginning of which was laid by the newspapers "Turkestan ualayatynyn newspapers (1870-1882) and" Dala ualayatynyts newspapers "(1888-1902). Translations from Russian literature and world literature were printed on their pages. classics. Continuing the translation traditions of Abay, A. Tanirbergenov and A. Naimanbaev published excerpts from "Eugene Onegin" by A. Pushkin, created their works on similar subjects. Books were published " 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 B. Utetileuov translated the works of Pushkin, Lermontov, Zhukovsky, Pleshcheev, Krylov.

great place on the pages of the magazine "Aykap" and the newspaper "Kazakh" were occupied by translations from Russian, Eastern and Western European literature. Among them are Rustem-Zurab (from Firdowsi's Shahnameh - translated by M. Seralin), D. Byron's Prisoner of Chillon (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 the development artistic experience 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 reason for the uprising was the royal decree on the mobilization of Kazakhs for rear work. The people, languishing under the burden of the colonial yoke, having lost all hope of improving their lives, turned against their rulers. The rebellious people, led by such folk batyrs, as Amangeldy, Bekbolat, began to crack down on government officials. However, the spontaneously started uprising, without having organized center leadership, soon began to wane, and the tsarist soldiers were outrageous for a long time. Folk literature preserved many works about this uprising. They told about the hard fate of the people, about the oppression of tsarism, about the struggle for freedom, about the heroism of the insurgent people and their leaders. Among the authors of these works are 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. Poets Omar and Kuderi created zhyrs ( historical songs) about the legendary Amangeldy, Isa - about Bekbolat. These works have taken a worthy place in the history of Kazakh literature. Their feature was new images folk heroes, specific historical events, problems.

Some historical songs of the period of the national liberation movement of 1916 are devoted to the description of the life of zhigits, called up by the royal decree. The dastan "Reception" by Birzhan Berdenov tells about the life of the Zhigits in their native village, about their unusual stay in a foreign land, about the unfair nature of the imperialist war, about the growing dissatisfaction with the rule of the tsar and the spread of ideas to overthrow him and, finally, remove the tsar from the throne. There are also works written in the form of letters from horsemen from the front and answers to them. folk poetry, born in 1916, filled with new content and enriched the people's democratic orientation of Kazakh literature at the beginning of the 20th century.

The position of the Kazakh people under the colonial system of government continued to be central issue in the development of later literature. 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 the ideas of freedom.

Kazakh literature of the beginning of the 20th century was an artistic chronicle about the truth of the life of the people of this historical era.

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Subtitles

Ancient Kazakh literature

According to the evidence of Chinese chronicle sources - VIII centuries, already by this time the Turkic-speaking tribes of Kazakhstan had an oral poetic tradition dating back to an earlier period [ ] . This is confirmed [ ] as well as various elements of epic poetry (epithets, metaphors and other literary devices) found in the Orkhon monuments - the texts of the tomb steles 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 ​​\u200b\u200bare 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 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 essay, the issue of the origin of the Slavs, Karluks, Kangars, Kypchaks and other tribes is discussed [ ] .

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 part is characteristic only for him - songs-petitions, songs-letters, etc. Songs, in turn, are divided into shepherd, 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 as tolgau began to stand out - philosophical reflection, arnau - dedication, etc. In the XVIII-XIX 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 of the second half of the 19th century. - Birzhan Kozhagulov, Aset Naimanbaev, Sara Tastanbekova, Zhambyl  Zhabaev and others - used aitys as a form of expression public opinion upholding social justice.

The origin of Kazakh written literature

Kazakh written literature in her 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. At the origins of this process are outstanding Kazakh educators, such as Shokan Valikhanov, Ibrai Altynsarin and Abai Kunanbaev.

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.)

The Kazakh Association of Proletarian Writers was created, which in the first years of its existence actively fought against nationalist manifestations in literature. The Union of Writers of Kazakhstan was organized in the same year, which later included sections of Russian and Uyghur writers.

Civil-patriotic poetry was the first to respond to the events of the Great Patriotic War in Kazakh literature - Amanzholov's poem "The Legend of the Death of a Poet" (1944), which tells about the feat of the poet Abdulla Dzhumagaliev, who died near Moscow, poems by Tokmagambetov, Zharokov, Ormanov and others, appeared after the war the novels "Soldier from Kazakhstan" by Gabit Musrepov (1949) and "Terrible Days" by Akhtapov (1957) were published.

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.

When someone starts talking about the literature of Kazakhstan, Abay Kunanbaev, Mukhtar Auezov, Olzhas Suleimenov and many, many others come to mind. Who can we remember school course Kazakh literature? Classics. However, whatever one may say, poetry and prose are a reflection of the spirit of the time, and if we fully learned about what happened 200, 100, 50 and even 25 years ago, then the literary face of modernity is hidden in the shadow of ignorance.

Revision C is outreach and writing about those who write about everything, including maybe even us.

Pavel Bannikov

Oppositionist of the conservative "Union of Writers", co-director of the poetry seminar at the progressive "Open Literary School of Almaty", co-founder of the anti-periodical publication " yshsho one”, an eternal marginal (like most modern Kazakh poets) and a person who knows firsthand why domestic literature cannot yet reach the masses: the writer cannot publish because publishing houses are still suffering from the Soviet censorship syndrome, the reader is not ready , he is lost in the choice and, like in a supermarket, he would rather take something “with a name” than with the brand “made in Kazakhstan”.

However, Pavel is a creator who looks at things, as they say, with faith in the best, well, and we will take an example from him and will wait for new literary exploits.

Zair Asim

Poet and prose writer

He studied not as a philologist and not even as a journalist, but graduated from the Mathematics Faculty of KazNU. al-Farabi. She does not work in an editorial or publishing house, but gives lessons in Argentine tango (and mathematics). Most likely, it is the totality of the above that gives his syllable a clearly adjusted rhythm and pace, and the word and images have a shade of exact science - life as it is and nothing more.

Ilya Odegov

prose writer

Perhaps the most widely known writer from Kazakhstan in narrow circles, the winner of the international literary competition "Russian Prize", the winner of the "Modern Kazakhstani Novel" award and the owner of many other titles and awards that you most likely have not heard of, but in the literary environment this solid, respected and prestigious.

If most people who undertake to write these days are literary collections, then Ilya Odegov is a whole library. The man to whom literature came by itself. The main, generalizing idea of ​​his works is faith in people and in circumstances that can change these people. For better or for worse, you'll only know by reading it.

Aigerim Tazhi

Poetess

We play tic-tac-toe with God.

He draws stars in the sky, and I

I throw stones into the green water.

We miss you. Draw.

We sincerely believe that in order to feel and at least try to understand all the feelings that the author puts into his works, you need to find and study them yourself.

We can only say about Aigerim that, for a moment, she is published not only on the territory of the post-Soviet space, but also across the distant Atlantic Ocean. Life in Kazakhstan, where West and East, Russian, Kazakh, English and many other languages ​​and cultures are intertwined, literally deprived her creativity of borders and made it absolutely understandable to any person on planet Earth. The rest is yours.

Karina Sarsenova

Poet, novelist, screenwriter

Poet, writer, producer, screenwriter and psychologist. She happens to be general producer and the creator of one of the largest production centers in Kazakhstan "KS Production". Karina Sarsenova is the owner of many serious international literary prizes and orders. She is a member of the Union of Writers of Russia, as well as the president of the Eurasian Creative Union. In addition, she even founded a new literary genre neoesoteric fantasy. Under her authorship, 19 books have been published in Kazakhstan, Russia and China. From under her pen came the script feature film"Guardian of the Way", as well as the scripts of the musicals "Alma and Armand: the magic of love", "The other side of the heart" and "Signature". You can get acquainted with the poetry of Karina Sarsenova.

Ayan Kudaykulova

She published her first book in 2011, and in 2013 she became the best-selling author of the year. Its genre is acute social and psychological prose. In his works, Ayan reflects on polygamy, problems in the family, considers the process of its destruction and looks for the place of a woman in Kazakhstani society. Despite the seriousness of the topics, the author writes easily, which makes the process of reading a pleasant experience. Notable novels Ayan Kudaykulova - "Coco's Handbag", "Carnelian Ring", "Eiffel Tower", "Gardener for Lonely Ladies".

Ilmaz Nurgaliev

The genre in which this author works is unique - Kazakh fantasy! He is known for a series of works "Dastan and Arman". Main character stories - horseman Dastan, in love with Armanay. She loves him back, they are engaged since childhood. But the father, according to the classics of the genre, opposes marriage and gives the young man 7 difficult tasks. In general, each book in the series is the execution of the next task. If Dastan copes with everyone, he will receive the hand of his beloved. In this fantasy you will not find monsters and ghouls. Bais, batyrs and heroes of legends and tales live there. Ilmaz is still a pioneer in this genre, but we believe that it is worth getting acquainted with his work. This is really interesting content that popularizes our culture.

From the depths of time

Kazakh li-te-ra-tu-ra is a pro-from-ve-de-niya in the Kazakh language, co-created by Kazakh-ski-mi av-to -ra-mi on the ter-ri-to-rii of Kazakh-sta-on, for example, from the 15th century.

In the present-day vi-de, the Kazakh language was sfor-mi-ro-val-sya and acquired its own gram-ma-ti-ku in the 19th - 20th centuries. , one-on-the-root-no mouth-no-th-on-kind-no-th creation-of-honest-va ear-dyat in a deep-bo-some pro-sh-loe. Pre-te-cha-mi Kazakh-li-te-ra-tu-ry can be considered the author of the middle-not-ve-ko-vy co-chi-not-ny on the lane -sid-skom and cha-ga-thai-skom languages-kah.

As svi-de-tel-st-vu-yut ki-thai le-to-pi-si 6-8 centuries, among the Turkic-speaking tribes of Kazakh-zah-sta-na to that -mu time-me-no already so-s-s-s-in-va-la oral-e-ti-chess-tra-di-tion, ascending to more-earlier-not- mu per-ri-o-doo. The legends and pre-da-tions about the sacred land of Otu-ken were preserved. From-ra-zha-whether you dream of a peaceful life-no-le-gen-dy about a fabulous, not-accessible for enemies mountain-noy to-li-not Er- ge-not-kong. Ele-men-you epi-che-koy-e-zii (epi-te-you, me-ta-for-ry) about-on-ru-zhi-va-yut-sya in or-khon-sky pas -mint-ni-kah - text-tah over-the-sepulcher steles of Kul-te-gi-na and Bil-ge-ka-ga-na, in-west-woo-yu-shchih about co-be-ti- yakh 5-7 centuries. Inscription Kul-te-gi-na so-storage-nya-et mo-tiv ro-do-howl ob-rya-do-howl in e-zia, re-re-walked later in the epic , - mourning-ki-va-nie died-she-go.

Epochs

On the ter-ri-to-rii of Kazakh-sta-na, the well-known ancient epics in the Turkic languages ​​\u200b\u200bwere formed - “Kor-kyt Ata” and “Oguz -on-me". Ras-simple-ra-nyav-shiy-sya oral epic "Kor-kyt Ata", risen in the Kyp-chak-sko-Oguz-sky environment de bass-sei-on the Syr-Darya at 8 -10th centuries, was for-pi-san in the 14th-16th centuries. tu-rets-ki-mi pi-sa-te-la-mi in vi-de Books de-da Kor-ku-ta. Kor-kut - re-al-noe face, bek of ogu-zo-kyp-chak-sko-go tribe-me-ni Ki-yat, count-ta-et-sya os-but-in-on-lodge - no-one epi-che-ko-go-gen-ra, is-kus-st-va vra-che-va-niya and mu-zy-kal-nyh pro-from-ve-de-niy for co-be -behind. The epic consists of 12 poems and tales about the ways of the Oguz gods and heroes. Upo-mi-na-yut-sya ple-me-on usu-ney and kan-gly.

Ogyz-ka-gan (Oguz-khan), having given super-es-test-vein-power, is the hero of the epic "Oguz-na-me", for-pi- san-no-go in the 13th century. Ra-shid ad Di-nom and later, in the 18th century, Abul-gazy. Po-ema in a sacred-sche-on det-st-vu Ogyz-ka-ga-na, his in-dvi-gam, in-be-dam over the ve-li-ka-nom, same-thread-be and birth-de-nyu sy-no-vey, someone-rykh is called Sun-tse, Lu-na, Star-yes, Ne-bo, Go-ra, Mo-re. Having become the great-vi-te-lem uy-gur, Ogyz-ka-gan wages wars with Al-ty-n (Ki-ta-em) and Uru-mom (Vi-zan-ti-ey), in co-chi-non-nii about-judging-yes-et-sya about pro-is-hozh-de-nii slav-vyan, kar-ly-kov, kan-ga-rov, kyp-cha- cov.

Aky-ny

On the whole pro-ty-zh-ni su-shest-vo-va-niya of the Kazakh in the e-ti-ches-coy tradition up to the 20th century. her obligatory fi-gu-roy was na-rod-ny in-it-im-pro-vi-for-tor akyn, bla-go-da-rya, what epi-we have reached us -chess pro-from-ve-de-niya, fairy tales, songs, poems. Kazakh folklore includes more than 40 genres of different kinds, but not a part of the ha-rak-ter-only for someone else - dog-no-pro-she-niya, dog-no-letter-ma, etc. The song is not de-lyat-sya on the past-that-six, about-rya-do-vye, is-it-ri-ches-kie and by-it-y. Po-ems can also be de-poured into hero-and-chess, in-west-woo-u-s about the movements of hero-ro-ev, - Kob-lan -dy, Er-Tar-gyn, Al-pa-cape, Kam-bar-ba-tyr, etc. -wife love of heroes, - Ko-zy-Kor-pesh and Ba-yan-Slu, Kyz-Zhi-bek, etc.

First poets

In the 11th-12th centuries. at the court of Ka-ra-ha-ni-dov, the first large-scale pro-from-ve-de-niya appear - by-em Ku-tat-gu bi-lik ( “Bla-go-dat-noe knowledge”) (1069) Yusu-fa Khas-had-ji-ba from Ba-la-sa-gu-na (b. 1015), composed of 13 thousand two-verses. Po-ema in-stro-e-on in the form of dia-log-gov, from-re-che-ny, na-zi-da-ny. In its os-no-woo lay epi-zo-dy and pre-da-niya rai-o-nov Zhe-you-su, bass-this-on lake Is-syk-Kul and Kash-ga- rii, her dei-st-vu-yu-schie per-so-na-zhi - re-al-nye is-to-ri-ches-faces. The main idea of ​​the poem: knowledge is the only source of the blessings of both right-wi-te-lei and on-ro- Yes.

Among the co-tyr-ko-lingual tribes of Kazakh-sta-na up to the 19-20 centuries. so-stored your-im-different mo-but-te-is-ti-ches-kaya re-li-gia ten-gri-an-st-vo (upper god Ten- Gri - no-bo, si-la, managing the world), the cult of the mountains - in a cro-vi-te-lei ro-da, as well as sha-ma-nism. In the 6th–9th centuries Buddhism came to the Kazakh steppes, for-chat-ki ma-ni-hei-st-va. Ve-ro-va-niya on-se-le-niya medium-not-ve-ko-vo-go Kazakh-zah-hundred-on from-whether-cha-were a lot-about-ra-zi-em and syn-kre-tiz-mom. One-to-on-chi-naya from the 9th century. Kar-ti-na in a step-pen-but me-nya-et-sya. Ko-chev-ni-ki-sko-to-vo-dy continue to use the cult of Ten-Gri, and in the settled lands-le-del-ches-ki paradise-o-nah in-lu-cha-et ras-simple-ra-non-is-lam, na-chi-na-et de-vi-va-sya re-li-gi-oz-naya li- te-ra-tu-ra.

In pe-ri-od ras-simple-ra-non-niya is-la-ma li-te-ra-tur-ny language os-ta-val-sya motley, not-one-but-native ; Significant place in the cultural life of the city-sort-of-the-se-le-niya game-ra-whether pro-from-ve-de-niya der-vish -sky poets and pi-sa-te-lei. One of the best known was the son of the steppe-no-go mu-zy-kan-ta, pro-po-ved-nick is-la-ma Hod-zha Ah-met Yas-sa -vi (d. in 1167), author of a collection of verses of re-li-gi-oz-no-mis-ti-ches-ko-go co-der-zha-nia Di-va- no Hik-met ("Book of pre-mud-ros-ti"). In his co-chi-non-nii Yas-sa-vi pro-po-ve-do-val as-ke-tism and smi-re-nie, la-gaya that the path to is-ti- not and there is a way to god. The book contains no-ma-lo cultural-tour-but-is-to-ri-ches-kih, eth-no-gra-fi-ches-kih-de-niy about the tribe nah that time. Disciple Yas-sa-vi Su-lei-men Ba-kyr-ga-ni - author of the collection-ni-ka Za-mu na-zir ki-ta-by (“Book about the end of the world -ta"). She tells that at the time of the end of the world, everything that exists perishes, but God will again create the world and everything will be reborn again. The books of Yas-sa-vi and Ba-kyr-ga-ni on the pro-ty-the-same-nii after-the-du-u-th-hundred-years-would be obligatory nym in-so-bi-eat in the medical-re-se of Central Asia and Kazakhstan. Khi-bat ul-Ha-kaik (“Po-da-rock is-ti-ny”) - the only-st-ven-naya book Azib Akh-me-ta Mah-mud-uly Yug-ne-ki ( end of the 12th century) pri-zy-va-la to a worthy life, hard work, striving for knowledge and man-lo-vech -nose-tee.

On-for-the-earlier pro-from-ve-de-niya of the mouth-of-the-nature-of-the-th creation-of-honour, whose author-tor-st-in can be considered a must -ta-nov-len-nym, from-no-syat-Xia to the 15th century. In the 16th century would it be ho-ro-sho from-west-ny so-chi-non-niya le-gen-dar-no-go Asan-Kai-gy, aky-nov Do-spam-be-ta, Shal-ki- and-for, in the 17th century. - aky-na Bu-ha-ra-zhy-rau Kal-ka-ma-no-va, av-to-ra sharp in-li-ti-ches-kih sti-hot-in-re-ny. In Kazah-sta-did-not develop a tra-di-tion of pro-ve-de-niya pe-sen-but-po-e-ty-chess-of-stya-za-ny inter-du aky-na-mi - ah-you-owls. Have you become-de-lyat-xia of the genre of pe-sen: tol-gau - fi-lo-sophic thinking, ar-nau - sacred, etc. d. In the 18-19 centuries. in creation-honest-ve aky-nov Ma-ham-be-ta Ute-mi-so-va, Sher-ni-ya-za Zha-ryl-ga-so-va, Su-yun-baya Aro-no- va-yav-la-yut-sya new those-we - pri-zy-you to fight against ba-ev and bi-ev. At the same time, aky-ny Du-lat Ba-ba-ta-ev, Shor-tan-bai Ka-na-ev, Mur-rat Mon-ke-ev pre-stav-la-whether so-boy con -ser-va-tiv-noe on-right-le-tion, idea-a-li-zi-ruya pat-ri-ar-khal-noe pro-sh-loe and praising re-li-gyu . Aky-ny 2nd in-lo-vin-ny 19th century Bir-zhan Ko-zha-gu-lov, Aset Nai-man-ba-ev, in-etes-sa Sa-ra Tas-tan-be-ko-va, Jam-bul and others. va-li ah-you-sy as a form of you-ra-zhe-niya of the society-ven-no-th me-tion, from-hundred-and-vaya so-qi-al-nuyu spra-ved- li-vost.

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

Kazakh writing-man-naya whether-te-ra-tu-ra in its co-time-men-nom vi-de na-chi-na-et warehouse-dy-vat-sya only at 2 th in-lo-vie-not 19th century. under the influence of-I-ni-em con-so-tov and dia-lo-ha with the Russian cul-tu-swarm. At the is-to-kov of this pro-cess-sa there are Kazakh pro-sve-ti-te-li Cho-kan Wa-li-ha-nov, Ib-rai Al-tyn-sa -rin and Abai Ku-nan-ba-ev.

Cho-kan Wa-li-ha-nov(1835–1865) - the first Kazakh scientist, illuminator, is-to-rik, eth-no-graph, pu-te-shest-ven-nik and dip- lo-mat. The right-nuk of kha-na Ab-lai, he was born in a pro-Russian ori-en-ti-ro-van-noy family, he studied Arabic in a Kazakh school and know-to-nice with the east in e-zi-her and whether-te-ra-tu-roy. He finished the Om-sky ka-det-sky kor-pus, someone was for the Asian-At-sky part of the Russian im-pe-rii of his own kind Tsar-sko-sel-skim face-eat. On windows-cha-nii was pro-from-ve-den in the root-not-you, but the forces of the Russian military-en-ny uniform, bu-du-chi Russian-si-sky ofi-tse- rum and chi-nov-no-one, performed in-ru-che-niya royal ad-mi-nist-ra-tion.

His duties include the functions of is-to-rio-count and participation in ex-pe-di-qi-yah on Is-syk-Kul, in Kuld- zhu, Kash-gar, during the time of some Va-li-kha-nov led his way days-no-ki, on the basis of -pi-sa-ny essays on kir-gi-zah (so in the 19th century on-zy-va-li ka-za-khov) - about their is-to-rii, common-ven-nom ro-do-vom arrange-st-ve, customs and customs-cha-yah, mi-fah and le-gen-dah (“For-pis-ki about kir-gi-zah”).

He succeeded in the first pi-sat and re-re-vest-ti into the Russian language part of the hero-and-che-ko-go epic Ma-nas ”-“ The Death of Ku-ko -tai-ha-na and his po-min-ki", in the native epic-po-em "Ko-zy-Kor-pesh and Ba-yan-su-lu". In his ra-bo-tahs, Va-li-kha-nov paid a lot of attention to-ma-niya especially-ben-nos-tyam to them-pro-vi-for-tor-sko-go art-kus -st-va aky-nov, rit-mi-ke ka-zah-sko-go sti-ha. A number of his researches-before-va-ny are dedicated to the study of the Zoro-Astrian roots of the Kazakh men-ta-li-te-ta and syn-kre-tiz-ma sha-man-st-va with is-la-mom among the steppe peoples - “Traces of sha-man-st-va at kir-gi-zov (ka- za-hov)”, “About mu-sul-man-st-ve in the steppe”. In the spring of 1861, would his “Essay on Jun-ga-rii” be published, as well as the main works, sacred is-to-rii and culture-tu-re of Central Asia and Vos-to-ka (“Kir-giz-ro-do-slovie”, “About k-chev-kah kir-giz”, “ Pre-da-nia and legends of the big Kir-giz-Kai-sats-koy hor-dy ”, etc.).

Living in Peterburg in 1860-1861 and continuing to work on essays on the history and ethno-graphics of kir-gi- call, he is close to the idea of ​​\u200b\u200bRussian re-vo-lu-qi-on-nyh de-mo-kra-tov, common-scha-et-sya and others - lives with many pre-hundred-vi-te-la-mi pe-re-do-how de-mo-kra-ti-ches-coy in-tel-li-gen-tion - F.M . Do-sto-evskim, S.V. Du-ro-vym, I.N. Be-re-zi-nym, A.N. Be-ke-something. According to the re-co-men-da-tion of P.P. Se-me-no-va-Tyan-Shan-sko-go he was admitted to the active-st-vi-tel-ny members of Im-pe-ra-tor-sko-go Russian geo -gra-fi-ches-to-go society.

Os-ta-wa-is an idea-a-list-tom in a-no-ma-nii of a common-vein-noy life, Wa-li-ha-nov condemned-gave about-of-a-ox- zah-skih fe-o-da-lov and ko-lo-no-for-tor-sky in-li-ti-ku tsa-riz-ma, you-say-zy-wal-sya for pri-general -nie ka-za-khov to the Russian culture-tu-re.

Ib-rai Al-tyn-sa-rin(1841–1889) also graduated from the Russian-Kazakh-school, worked as a re-re-vod-chi-com in Oren-burg, teach -lem and in-spec-to-rum schools. At the same time, he did-bi-val-sya, so that Russian schools for the Kazakh mo-lo-de-zhi from-ro-wa-moose as much as possible. In 1879, his “Initial ru-ko-vod-st-vo to teaching kir-gi-zov of the Russian language” and “Kir-giz-sky xres-to-ma-tiya, "many of his stories and verses-hot-in-re-niya, as well as pro-from-ve-de- niya of Russian auto-moats, trans-ve-den-nye into the Kazakh language. His li-te-ra-tour-naya de-I-tel-ness but-si-la pro-sve-ti-tel-sky ha-rak-ter and was part of the society-ven-but -pe-da-go-gi-ches-coy practice-ti-ki. In pro-iz-ve-de-ni-yah “Not-ve-gesture”, “Ko-var-no-mu aris-to-kra-tu”, he condemned fa-na-tism and vanity belief, opened the re-ak-tsi-on-nuyu essence of the mullahs, in “Kip-chak Seit-kul” and “De-re-vyan-nom do-me and yur-te” convinced somehow-water-dov for-no-mother-earth-le-de-li-em, in “Sy-not bay and sy-not poor-but-you” about-ty-in-pos-tav- lyal work-to-any-bee poor-nya-kov sku-pos-ti and greedy-nos-ti god-ga-whose. In sti-hot-in-re-ni-yah “Spring-on” and “Autumn” for the first time in Kazakh poetry Al-tyn-sa-rin re-a-lis-ti- ches-ki describe-sy-val Kazakh-sky landscape and car-ti-ny-to-che-in-go-ta. He also wrote about the im-right-of-the-lo-of women in the traditional Kazakh society. As a folk-lo-rist for-pi-sal and pub-li-ko-val of the tales “Ka-ra ba-tyr”, “Al-tyn-Ay-dar”, le-gen-du “Zhi-ren -she-ost-ro-words”, from-ry-wok from the epic “Kob-land-dy” and many others.

Life and work of Abay

In-bor-nick friendship would be with the Russian on-ro-home, os-but-in-on-loose-nick re-a-lis-ti-ches-coy-te-ra-tu-ry, the poet and thinker Abai Ku-nan-ba-ev (1845–1904) was the continuation of the de la Wa-li-ha-no-va. His work-honor-in opre-de-li-lo cul-tour-but-pro-sve-ti-tel-skoe movement of the end of the 19th - on-cha-la of the 20th centuries, eye-for -lo oh-rum-noe influence-action-st-vie on the next-du-th-che-de-s-thing of Kazakh-th-whether-te-ra-tour-no-th language .

Ku-nan-ba-ev in-lu-chil class-si-ches-something-accurate about-ra-zo-va-nie. In the medical-re-se ima-ma Ah-met-Ri-zy, he studied Arabic, Persian, other oriental languages, he knew class-si-ches-coy Persian li-te-ra-tu-roy - Fir-do-usi, Ni-za-mi, Sa-a-di, Ha-fi-zom, etc. Od- new-re-men-but, on-ru-shay prohibition of honey-re-se, in-se-schal Russian parish school. At the age of 28, he moved away from you-full-of-non-ad-mi-nist-ra-tiv-ny functions of the head of the family, wholly from-having given himself -ra-zo-va-nyu. Abai writes verses, strengthens-len-but studies Russian culture-tu-ru, for-no-ma-et-sya in a public biblio-te-ke. Knowing-com-st-in with Russian-ski-mi in-li-ti-ches-ki-mi exile-us-mi eye-for-lo strong influence on the for-mi-ro-va -nie pro-gres-siv-no-go world-ro-vision-of-this. He re-re-vo-dit into Kazakh pro-from-ve-de-niya A.S. Push-ki-na, M.Yu. Ler-mon-to-va, I.A. Kry-lo-va, for-ru-beige-class-si-kov, pi-shet Kazakh songs on words from-twitch-kov from Eugene One-gi-na . Na-for-lea from-west-on his ele-gy, in-lo-feminine-naya on mu-zy-ku, “Ka-ran-gy tun-de tau kal-gyp” - a poetic pe -re-water “Night-song-no country-no-ka” Ge-te.

Li-te-ra-tour-noe-on-the-track of Abai compose-la-yut verses, poems, poetic re-re-vo-dy and re-re-lo-same -nia, pro-and-chess "na-zi-da-nia". His e-zia is from-whether-cha-et-sya class-si-ches-coy simple and graceful hu-to-gesture-ven-nyh receptions. He introduces new poetic forms - shes-this-tishya and eight-mis-tishya: “From time you-fall-yes-yet a moment” (1896), “Once -we shouldn’t, dead, I’ll become clay ”(1898),“ On the water, like a man-nok, lu-on ”(1888),“ When it becomes long shadow ”(1890), etc. For his poetry, kha-rak-ter-ny is characterized by a deep philosophical meaning and civil sound. In verse-hot-in-re-ni-yah “Oh, my ka-za-hi”, “Eight-miss-ti-shiya”, “That's old age. Sorrowful du-we, a bit of a dream ... ”,“ From-mu-chen, ob-ma-nut I’m all around ... ”sounds cri-ti-ka fe-o-distant usto-ev. In the collection-ni-ke hu-do-gesture-ven-no-fi-lo-soph-sky pro-se "Gak-lii" ("Na-zi-da-nia"), for-tro-well-you is-to-ri-ches-kie, pe-da-go-gi-ches-kie and right-to-the-we-we, the author pri-zy-va-et people to take the path of culture -no-go pro-gres-siv-no-go development, hard-no-go and honestly work-yes. Shi-ro-ko from-wes-ny verses, in-sacred times-we-we-yes.

Na-cha-lo 20th c. became-lo-pe-ri-o-house of the race-color of the Kazakh li-te-ra-tu-ry, write-tav-shey into yourself damn Kazakh, resurrect accurate and European-ro-pei-sky li-te-ra-tour. At this time, for-cla-dy-va-yut-sya-os-but-you-so-time-men-noy Kazakh-y-te-ra-tu-ry, windows-cha-tel-but for-mi-ru-et-xia whether-te-ra-tur-ny language.

Class-si-ki of the Kazakh-li-te-ra-tu-ry

Ah-met Bay-tur-son (1873–1913) for-no-small-sya pe-da-go-gi-ches-koy and whether-te-ra-tur-noy de-ya-tel-ness - ne -re-vo-dil bass-no Kry-lo-va, gave in-po-lyar-ny medium ka-za-hov in-e-ti-ches-ky collection-ni-ki "Ky- roar we-sal "and" Ma-sa "(1911). Bai-tour-sy-na can be called the first Kazakh language-ko-ve-house - he wrote articles, in some you-stepped for number -that Kazakh language, freeing it from Russian and Tatar words.

Na-rozh-da-yu-shcha-i-sya Kazakh li-te-ra-tu-ra osva-iva-la large li-te-ra-tour-form-we - ro- mana, by weight. Po-et and pro-za-ik Myr-zha-kyp Du-la-tu-ly (1885–1925) - the author of several collections of the first Kazakh ro-ma-na “Un-happy Zha-mal” (1910), you-hold-zhav-she-go not-how-of-yes-ny and you called the big in-te-res from the Russian kri-ti-ki and the Kazakh community-ven-nos-ti. He is also for-no-small-sya-re-vo-da-mi on the Kazakh Push-ki-na, Ler-mon-to-va, Kry-lo-va-Shil-le- ra, was no-va-to-rum and re-for-ma-to-rum of the Kazakh language. Span-di-yar Ko-be-ev (1878–1956) from-wes-ten as a re-re-vod-chik ba-sen Kry-lo-va and the author of one of the na-for- more significant Kazakh ro-man-nov Ka-lym (1913).

Pi-sa-tel and journalist on the list -i-mi Top zhar-gan (1900), Gul-ga-shi-ma (1903), re-re-vo-house of the poem Rus-tem-Zo-rab from "Shah-na-me" Fir- do-usi, was the main re-dak-to-rum of the zhur-na-la "Ai-kap" (1911–1915), in the circle of someone-ro-go group-pi-ro-wa-lis progressive creative forces. Co-labor-ni-chav-shi with the journal Sul-tan-mah-mud To-rai-gy-rov (1893–1920) pi-sal verses and stories on those we not-ra-ven-st-va, he is the author of ro-ma-na "Ka-mar Su-lu". In the zhur-na-le, the Sul-tan-Mah-mut To-rai-gy-ditch, Sa-bit Do-nen-ta-ev, Ta-ir Jo-mart-ba -ev and others.

With name Ms. Zhu-ma-baya(1893–1937) due to the introduction into the Kazakh style of sti-hos-lo-same-new in-e-ti-ches forms, and in Kazakh- li-te-ra-tur-ny language - sti-lis-ti-ches-coy sis-te-we, someone-paradise is preserved to this day. He started writing verses from the age of 14 and almost in all newspapers and magazines in the Kazakh and Tatar languages -kah. In 1912, in Ka-za-ni, his collection “Shol-pan” was published in a-ti-ches.

Sha-ka-rim Ku-day-ber-dy-uly(1858–1931), nephew of Abay Ku-nan-ba-e-va, was a re-li-gi-oz-ny fi-lo-so-f, p-tav-shim-sya in a tractor ta-te “Mu-syl-man-shyl-dyk, shar-t-ta-ry” (Orenburg, 1911) ob-os-no-vat dog-ma-you is-la-ma with in-mo -schi lo-gi-ches-ko-go me-to-yes. In the same year, he published one of the first works on the history of the Kazakhs - gi-zov, ka-za-khov and khan-skikh di-us-tiy. Sha-ka-rim was the author of the pain-sho-go number of sti-hot-in-re-ny, po-em and pro-and-ches-pro-from-ve-de- ny. He re-led in the poetic form of “Oak-ditch-sko-go” Push-ki-na, his-and-mi teach-te-la-mi considered Bai-ro-na , Push-ki-na, Ler-mon-to-va, Ha-fi-za, Na-voi, Kan-ta, Sho-pen-gau-e-ra.

Re-li-gi-oz-ny fi-lo-sof Mu-ha-med Sa-lim Ka-shi-mov, from-the-west of his-and-mi pro-from-ve-de-ni-i- mi “Vezh-li-vost”, “Agi-ta-tsiya”, “Na-stav-le-ka-za-ham”, was also an auto-rum in weight “Sad-chal-naya Ma-ri-yam ”(1914), in which they condemned the custom of tea you-da-chi de-wo-shek for a husband without their consent. In three books published in 1913 Mash-gu-ra-Zhu-su-pa Ko-pei-u-ly (1858–1931) -noe apparition in my long-years-her life”, “Po-lo-same” and “On whose land Sa-ry-ar-ka” he sharply you-say-zy-va-et-sya against-li-ti-ki of Russia and the re-se-le-niya of Russian peasants in Kazakhstan.

At the end of the 19th - at the beginning of the 20th centuries. group-pa "books-ni-kov", into someone-rui enter-di-li Nur-zhan Na-usha-ba-ev, Ma-shur-Zhu-sup Ko-pe-ev and others, about -po-ve-do-va-la pat-ri-ar-khal-nye views and so-bi-ra-la folklore. Around the newspaper "Kazakh" (1913) group-pi-ro-va-lied on-tsio-nal-pat-ri-o-ti-ches-kie-ly - A. Bai- tour-su-nov, M. Du-la-tov, M. Zhu-ma-ba-ev, after 1917 re-went to the camp con-tr-re-vo-lu-tion .
Lee-te-ra-tu-ra 20th century

After-le Ok-tyabrsk-coy re-vo-lu-tion in the creation-honest-ve aky-nov Jam-bu-la Ja-ba-e-va, Nur-pe-i-sa Bai-ga-ni- on, Doskeya Alim-ba-e-va, Nar-taya Be-ke-zha-no-va, Oma-ra Shi-pi-na, Ke-ne-na Azer-ba-e-va active-no raz-vi-va-yut-sya so-qi-al-nye mo-ti-you and those-we so-qi-a-lis-ti-ches-to-go stro-and-tel-st-va.

In the so-vet-sky per-ri-od, the greatest known-ness in the USSR at-o-bre-lo creat-honor-of the ka-zah-sko-th-native-no-go-this -aky-na Jam-bu-la Jam-ba-e-va (1846–1945), singer-she-go under ak-com-pa-ne-ment house-bra in the style of tol-gau. From his words, would the epics Su-ran-shi-ba-tyr, Ute-gen-ba-tyr, the fairy tales “Khan and akyn”, “The Tale of Len- tyae ”etc. After the Ok-tyabr-koy re-vo-lu-tion in the creation of Jam-boo-la-new themes appeared -“ The hymn of Ok-tab- ryu”, “My Ro-di-na”, “In Mav-zo-lei Le-ni-na”, “Le-nin and Stalin” (1936). Almost all the heroes of the co-vet-power of the pan-theo-on entered his song, they were given the devil-you-ro-evs, bo-ha-you-ray. Song-no Jam-bu-la would-whether re-re-ve-de-na into the Russian language and the languages ​​​​of the peoples of the USSR, in-lu-chi-whether everything is native vocation and in full measure was used by the Soviet pro-pa-gan-doy. In the years of Ve-li-koy Father-honest-ven-noy war Jam-bul pi-sal pat-ri-o-ti-ches-kie pro-from-ve-de-niya, zo-woo- those who are the Soviet people to fight the enemy - “Le-nin-grad-tsy, my de-ti!”, “At the hour when Stalin calls” (1941 ) etc. In 1941, he becomes a la-u-re-atom of the Stalin Prize.

Combining oral forms with li-te-ra-tur-ny-mi, Jam-bul you-ra-bo-tal new in-e-ti-ches-kuyu ma-ne- ru, from-whether-cha-yu-schu-yu-sya psi-ho-lo-gi-chess-coy-saturation, concrete-ness of the image-of-the-society-of-society venous life, for-soul-ness and simple-to-the-west-in-va-nia.

Ro-do-na-chal-ni-ka-mi Kazakh so-vet-sky li-te-ra-tu-ry became po-ety Sa-ken Sei-ful-lin (po-ems “So-vet-stan”, “Al-bat-ros”, “So-qi-a-lis-tan”, in weight “Earth-le-ko-py”, “Fruits”), Bai-ma-gam-bet Iz-to-lin, Il-yas Dzhan-su-gu-rov (based on the poem “Steppe”, “Mu-zy-kant”, “Ku-la-ger”), pi- sa-te-li Mukh-tar Au-e-zov (“Night races-ka-you”), “Sa-bit Mu-ka-nov” (so-chi-al-no-is-to-ri -Ches-ki ro-man “Bo-ta-goz” (“For-ga-daughter-noe banner”), Be-im-bet May-lin (according to the story “Kom-mu-nist-ka Ra-u-shan", ro-man "Aza-mat Aza-ma-tych").

In 1926, there was a co-building on the Kazakh as-so-qi-a-tion of pro-le-tar-sky pi-sa-te-lei, in the first years of its own go su-shest-vo-va-niya bo-rov-sha-i-sya pro-tiv on-cio-on-lis-ti-ches-kih manifestations-le-ny in li-te-ra-tu -re. Did you-ho-dit al-ma-nah "Zhyl ku-sy" ("First las-toch-ka") (since 1927) and the magazine "Zha-na ad-bi-et" ( "New li-te-ra-tu-ra") (since 1928). In 1934, the So-yuz pi-sa-te-lei of Kazakh-sta-na was created, later, in its co-hundred-ve, sections of Russian and uy began to work -gur-skih pi-sa-te-lei.

The first howl at the meeting of the Father-honest-vein-noy war in the Kazakh li-te-ra-tu-re was called civil-dan-sko-pat-ri-o -ti-ches-kaya in-e-zia - poem by K. Aman-jo-lo-va “The Tale of Death in-this” (1944) about in-motion in -gib-she-go near Moscow, this Ab-dul-ly Ju-ma-ga-li-e-va, verses Tok-ma-gam-be-to-va, Zha-ro-ko -va, Or-ma-no-va, etc. After the war, the ro-ma-na “Sol-dat from Kazakh-sta-na” Mus-re-po-va appeared ( 1949), "Kur-lyan-diya" Nur-pe-i-so-va (1950), "Thunderous days Ah-ta-po-va" (1957), me-mu-a-ry Mo-we -shu-ly "For Na-mi Moscow" (1959).

In 1954, Mukh-tar Au-e-zov completed the best-chiv-shui ot-click in many countries tet-ra-logia - ro-man-epo-sing "The Way of Abai ". Pos-le-vo-en-naya Kazakh li-te-ra-tu-ra osva-iva-la large forms of "pain-sho-go" with-vet-sko-th style la, cha-go-teya to large-scale li-te-ra-tour-form-mums - ro-ma-us, three-lo-gi-yams, po-ems and ro-ma-us in sti-hah (Mu-ka-nov, Mus-ta-fin, Shash-kin, Er-ga-li-ev, Ka-ir-be-kov, Mul-da-ga-li-ev, etc.). Raz-vi-va-las dra-ma-tur-gia (Khu-sa-i-nov, Abi-shev, Ta-zhi-ba-ev), on-learning fan-tas-ti-ka (Sar -se-ke-ev, Alim-ba-ev).

In the 1970s, pay attention to chi-ta-te-lei attracted a book from the vest-no-go of your collection “Good time to re- ho-da "(1961)," Over the white-mi-re-ka-mi "(1970)," Repeating at noon "(1975) Kazakh poet and pi-sa-te-la Ol-zha-sa Su-lei-me-no-va "Az and I" (1975). In it, he developed the idea of ​​​​the kin-st-ve of the Ka-za-khovs and the ancient Shu-Me-ditch, paid attention to the big-sho-whether-honest- in the words of the Turkic pro-is-hoj-de-niya in the Russian language, what does it say, in his opinion, about the strong influence of the Turkic skoy kul-tu-ry into Russian. In a revival-len-noy discussion, unfolding-new-shey-sya in pe-cha-ti, Su-lei-me-no-va about-vi-nya-li in “pan-tur- kiz-me" and na-tsio-na-liz-me.

In the verses of Ol-zha-sa Su-lei-me-no-va “Ko-chev-nik”, “Song-nya ku-ma-na”, “Chrome-my ku-lan”, “Ka-ra -gach”, “Red go-nets and black go-nets”, “Mo-lit-va ba-ty-ra”, “Nomad before my winter ...”, “Bal-la -yes”, “Vol-cha-ta”, “After-her word aka-na Sme-ta” and many other de-ni-yah this-go-yar-ko-go pre-hundred-vi-te-la Kazakh in e-zia second-lo-vin-na of the twentieth century, uch -no-go and dip-lo-ma-ta, common-ven-no-go and go-su-dar-st-ven-no-go de-i-te-la, pro-follow- va-yut-sya and personal-noe-na-cha-lo, and deep-bo-ko in-di-vi-du-al-ny in-a-ti-ches-ky look at the essence of yav-le- ny fast-ro me-nya-yu-shche-go-sya world-ra, some-ry co-spun-same-us with the well-known post-tu-la-tom “from part-but- go to the general. Ele-men-you-native in-e-ti-ki, char-rak-ter-ny for many aky-nov so-called-zy-va-e-my “steppe ref-ren” , instant-ven-naya im-pro-vis-za-tion, born by my self-e-ti-ches-coy thought, someone-paradise always lives in su-lei -me-new Word that “wanders in the steppe” - all this and many-many-many other things are always defined-de-la-lo in-e-ti -che spirit of Ol-zha-sa Su-lei-me-no-va as su-gu-bo on-tsio-on-l-noe creative-honesty, you-went-out of a lot- ve-ko-howl tra-di-tion, name-well-e-my “step-pee in-e-zi-her”.

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

In 1977, in So-yuz, pi-sa-te-lei of Kazakh-sta-na opened a section of the Korean li-te-ra-tu-ry. Pi-sa-tel and poet Kim Dyun (1900 - 1980) - author of the poem "Aliya", in the sacred Kazakh de-vush-ke-ba-ty-ru A. Mol-da-gu-lo-howl (1960, in Korean). Since 1937, in the Republican-Kan-Korean Te-At-Re, see-te-li see-de-li more than 100 plays of Korean drama-ma-tours. In the Korean language, after setting up the plays by M. Au-e-zo-va “Ka-ra-goz” and “Ko-by-lan-dy”, G. Mus- re-po-va “Ko-zy Kor-pesh - Ba-yan Su-lu”, as well as a play by O. Bo-dy-ko-va, K. Mu-ha-med-zha-no- va. In the re-pub-li-ke, non-metz-kie poets and pi-sa-te-li are successfully working. From-yes-we-e-ti-ches-kie pro-from-ve-de-niya R. Zhakm-en, K. Wel-tsa, I. Var-ken-ti-na, as well as about -for A. Reim-gen, V. Klein, D. Gol-man, A. De-bol-sko-go, G. Bel-ge-ra. In 1932, or-ga-ni-zo-va-na uy-gur-skaya section. In this period, I. Sat-ti-ro-va, I. Is-kan-de-ro-va, had a success in-e-zia, would you have put a pie- sy J. Asi-mo-wa and A. Sa-di-ro-wa, K. Ha-sa-no-wa. From-da-na collection-ni-ki in weight-tey H. Ab-dul-li-na, Z. Sa-ma-di, J. Bo-sa-ko-wa, T. To-hta-mo -va, M. Zul-py-ka-ro-va, A. Ashi-ro-va, N. Ba-ra-to-va, P. Sa-bi-to-howl, as well as verses and poems by I. Bakh-tiya, M. Ham-ra-e-va, I. Bakh-ni-ya-zo-va, R. Ka-dy-ri, A. Ga-ni-e-va, M. Ab-du-rah-ma-no-va. Pe-re-ve-de-ny and from-da-ny into the Uy-gur language “Sti-hot-vo-re-niya” by A. Ku-nan-ba-e-va (1987), “Ba -lu-an Sho-lak” by S. Mu-ka-no-va (1987, translated by K. To-hta-mo-va), “Ul-pan is her name” by G. Mus-re-po-va ( 1987, trans-re-water Z. Sa-ma-di). From the well-known pi-sa-te-lyam and therefore the eye-zy-va-et-sya support from the side of the go-su-dar-st-va, Dm. Sne-gin, G. Bel-ger, M. Si-mash-ko udos-e-we pre-mii of the Mira and spirit-hov-no-go co-gla-siya Pre-zi-den-ta Republic of Kazakhstan.

So-time-men-naya kazakh-stan-sky li-te-ra-tu-ra

Pe-ri-od of the end of the 1990s - on-cha-la of the 2000s. in li-te-ra-tu-re Ka-zah-sta-na ha-rak-te-ri-zu-et-sya in-torture-ka-mi comprehend in-st-mo-der-nist- Western ex-pe-ri-men-you in li-te-ra-tu-re and the possibility of using the methods of de-con-struction and " compaction-non-niya "text-ta, as well as re-os-cape-le-niya pro-from-ve-de-niy from-vest-ny and little-from-vest-av -that-ditch. Li-te-ra-tu-ra Ka-zah-sta-na pro-long-zha-et time-vi-vat-sya in con-tech-with-these general-mi-ro-howl qi-vi -li-za-tion, vpi-you-vaya and development-vi-vaya new cultural ve-i-niya, taking into account your own-st-ven-nyh-capabilities and in-te-re-owls.

Source: http://www.kazakhstanlive.ru