Literary process in Kazakhstan at the turn of the 19th and 20th centuries. Interaction with Russian literature

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 Borovoe.

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 of folk singers), lyrics (tolgau - philosophical reflections, arnau - dedications, and 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 true and selfless love of young heroes, their 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, a new stage began in the development of Kazakh culture, including literature. Akyns Makhambet Utemisov (1804 - 46), Sherniyaz Zharylgasov (1817 - 1881), Suyumbay Aronov (1827 - 1896) called on the people to fight against the oppressors - bays, 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, upholding social justice. AT mid-nineteenth in. 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 the late XIX - early XX centuries. 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 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 became widespread among the people. After the October Revolution, they became active builders of Soviet society.
The founders of the Kazakh Soviet literature of socialist realism were the revolutionary poet Saken Seifullin (189 - 1939), the poets Baimagambet Iztolin (1899 - 1921), Ilyas Dzhansugurov (1894 - 1937), the writers Beimbet Mailin (1894 - 1939), Mukhtar Auezov (1897 - 1961), Sabit Mukanov (b. 1900). They stood at the origin of all genres of modern Kazakh literature, vividly and irreconcilably exposed the social system of pre-revolutionary reality and its survivals; 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: contemporary theme 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 appeared with their works. In 1926, the Kazakh Association of Proletarian Writers was created, which played big role in the unification and ideological education of writers, in their struggle against the 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 lyric-epic poems appeared in dramaturgy (Aiman-Sholpan, 1934, Auezov; Kozy-Korpesh and Bayan-Slu, 1940, Musrepova, etc.), as well as works on contemporary themes who took 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. The 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. nationally epic tradition 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 lyrical poems, a novel in verse. Many poems were written on historical themes: "Maria, Yegor's daughter" (1949 - 1954) Bekkhozhin, "The Bell in the Steppe" (1957) Gafu Kairbekov (b. 1928), "Kurmangazy" (1958) Yergaliev, "Estay -Khorlan" by Muzafar Alimbaev (b. 1923) and others. About creative work, about rich spiritual world Soviet people created poems by Tazhibaev (“Portraits”, 1957), Zharokov (“Steel Born in the Steppe”, 1954), Muldagaliev (“The Fate of a Widow”, 1961), Olzhas Suleimenov (b. 1936; “Earth, Bow to Man!”, 1961 ) and 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. AT Soviet time Sapargali Begalin (b. 1895), Utebai Turmanzhanov (b. 1905), Berdibek Sokpakbaev (b. 1924) and others are successfully working 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), Karataev, 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 critics 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") are published.
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 literatures of the peoples of 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, in. 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.

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, Kazakh literature played an important role, 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 the 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 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 to the people. Revealing the negative aspects of the life of contemporary Kazakh society, M. Dulatov calls on his compatriots to a new life, calls 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!" Since its publication, it has been perceived as a book directed against colonialism, its circulation has been destroyed, and the author has been 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 searches.

Leaving the framework of agitation-conscription poems, he created lyrical poems, beautiful in depth and artistry, about nature and inner world person. 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 display 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, writers created a number of works of a 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 movement "Alash", believing in the freedom and independence of its people, later showed solidarity with the Soviet government. 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 the experience of democratic literature of the 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 plots. folk art, as well as the 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, enriching 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 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 Firdousi's "Shahnameh" - translated by M. Seralin), "Prisoner of Chillon" by D. Byron (translated by A. Galimov), excerpts from "A Thousand and One Nights", stories by L. Tolstoy and A. Chekhov. Thus, a wide road was opened for mastering the artistic experience of world classical literature. The development of Kazakh literature at the beginning of the century was significantly influenced by the national liberation movement of 1916. The 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 rebellious 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 folk-democratic orientation of Kazakh literature of the early 20th century.

The position of the Kazakh people under the colonial system of government continued to be a central problem in the development of the literature of the subsequent period. Young talents who came to literature during this period, such as M. Zhumabaev, S. Seifullin, B. Mailin and others, began to publish their first works, continuing the democratic and educational traditions, enriching it with 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.

From the end of the 19th century Kazakhstan was fully involved in the all-Russian economic system and embarked on the path of intensive social development. Contacts between the Kazakh and Russian populations have become closer. A favorable opportunity arose for the wide dissemination of advanced Russian culture in Kazakh society.

Democratic ideas in literature and culture are associated with the educational ideology that originated in the 60s of the XIX century. These ideas at the turn of the century became increasingly critical.

In the 80s of the XIX century. the creative path of Abai Kunanbaev (1845-1904) begins - the founder of Kazakh realistic literature.

In the first lyrical poems (“From childhood I saw a good light in science”, “Yes! Today in a boarding school”, “Dzhigits, laughter is dear, not buffoonery”, etc.). Abay boldly criticizes the backwardness of Kazakh society.

He sees a way out of the distressful situation in the enlightenment of the people. Only an educated person, the poet believes, can be useful to the country, he will not close himself in the narrow framework of tribal family concerns. These are the main ideas of many poems written by Abai Kunanbaev in the eighties.

By the 90s, in his poems, a critical look at reality becomes sharper. The poet reveals the duplicity, ignorance of the volosts, bais, foremen, mullahs, condemns bribery, covetousness, as well as the oppression of the people covered with tribal customs. Abai sympathizes with the disadvantaged. “Oh, my Kazakhs! My poor people!" laments the great poet. He fights for their rights, for justice.

Abai's work was a turn in Kazakh poetry from enlightenment to critical realism. Creating images of an impudent volost, illiterate mullah, dodgy officials, loafers-bais, the poet enhances the social content of Kazakh poetry.

Abay's cycle of poems about the seasons ("Spring", "Summer", "Autumn", "November - the threshold of winter", "Winter") are examples of beautiful landscape lyrics. The steppe appears in a variety of colors, in the grandeur of open spaces, in the diversity of herbs, in contrasting descriptions. For the first time, pictures of nature are organically connected with the reflection of the full deep social contradictions Kazakh life.

The landscape lyrics of Abai testified to the creative assimilation of the experience of Pushkin and Lermontov, to the understanding of art as a necessary, spiritual, human need. Whatever the problem of the life of society or individual person did not affect Abai, he invariably gave it a generalized philosophical meaning.

Abay raised Kazakh poetry to the level of professional and highly artistic. He gave the Kazakh colloquial language a special expressiveness, filled the artistic word with social meaning. His poetry was free from rhetoric. Echoing Chernyshevsky's words, we can say that he was "the first to raise literature to the dignity of a national cause."

Abay enriched Kazakh poetry with new genres (six-line and oct-line), created a number of poems. Among them is Iskander based on the traditional story about Alexander the Great and the wise Aristotle. Another poem, "The Tale of Azim", is based on one of the tales of the "Thousand and One Nights" - "The Tale of Hassan from Basra" - instructive story adventures of a young artisan-jeweler.

The poet expanded the plot scheme with a description of everyday scenes, his hero knows how to work hard, not to lose his presence of mind in any of the most difficult circumstances. The poem "Mas'ud" was also written in an edifying and enlightening vein. "Edification" ("Gaklia") - a kind of studies on moral, ethical and socio-philosophical topics - reveal the thinker's views on many phenomena of nature and society.

Thanks to Abai's talented translations, Pushkin, Lermontov, Krylov became favorite poets of Kazakh readers. He introduced the Kazakh people to the humanistic Russian classical literature and laid the foundations for the creative relationship between Kazakh and Russian literature.

Abai's traditions were continued by his followers. Among them are his sons - Akylbay (1861-1904) and Magavya (1887-1904), authors of the romantic poems "Zulu", "Dagestan", "Medgat-Kasim". They are joined by poets N. Ormanbetov, K. Zhanataev, poets-composers A. Naimanbaev, Birzhan-Sal Kozhagaulov, A. Tanirbergenov.

A special place in the development of Abai's humanistic traditions was occupied by the work of Shakerim Kudaiberdiev (1858-1931), the son of Abai's elder brother, who was brought up in his uncle's house.

Shakerim created his main works in adulthood. Participating in the administration of the Semipalatinsk province, he often visited remote areas, sorted out all kinds of court cases and lawsuits. Leaving with official post, he delves into the study of the history and culture of the people, is fond of philosophy, religion, music and natural sciences but above all, literature.

Having a good command of Arabic, Persian and Russian, he studies the medieval literature of the Turkic peoples, Arabic and Persian poetry, and reads Russian classics in the original.

Poet and prose writer, translator and playwright, historian and philosopher, Shakerim left a huge legacy: cycles of poems, poems Kalmakan-Mamyr, Enlik-Kebek, Nartailak-Aisulu, novel Adil-Maria, etc. He translated A. Pushkin's novels "Dubrovsky", "Snowstorm", several stories by L. Tolstoy, Fizuli's poem "Leyli and Majnun", poems by Hafiz and even several chapters from G. Beecher Stowe's novel "Uncle Tom's Cabin" into Kazakh language.

During this period, thanks to the efforts of leading figures, the number of general education schools in St. Petersburg, Kazan, Ufa, Tashkent, Orenburg, in the same cities Kazakh books are published.

If some of Abai’s poems during his lifetime saw the light only on the pages of the then only newspaper “Dala ualayaty” (“Steppe Newspaper”), then in 1919, for the first time in St. Petersburg, a posthumous publication of his writings in the Kazakh language was carried out.

The first Kazakh magazine "Aikap" (1911-1915) began to appear, the editor-in-chief of which was M. Seralin; the newspapers Kazakh (1913-1917), Prostor (1907), Irtysh, Stepnaya Zhizn (1907) were published, in which, along with samples of rich oral poetry, works of poets and writers, articles were published on pressing issues of our time.

in the literature of the late 19th century. along with the leading democratic direction headed by Abai, there was also a traditional one, represented by the works of such poets as Abubakir Kerdeli, Nurzhan Naushabaev and others, who, in the spirit of Islamic tradition, wrote about the frailty of the world, the variability of fate. But by the beginning of the 20th century their voices were already weak.

Prominent representatives of the literature of the early XX century. S. Toraigyrov (1893-1920), S. Donentaev (1894-1933), M. Seralin (1872-1929), S. Kubeev (1879-1956) wrote that civilized peoples achieved high development in the field of economy and culture thanks to a reasonable attitude to the new requirements of the time. Toraigyrov's word is full of sublime optimism and sounds like a fervent call for bold action.

“I will smash fate to smithereens and make it dance to my tune,” says the lyrical hero Toraigyrov. In the poem "What is the purpose of study" the poet speaks of the obscurantism of theologians. Educated people should, according to the poet, serve the development of science and culture, and not think only about a career.

Kazakh pre-October literature in the era of the people's liberation movement did not remain aloof from the ideas of the time, from the struggle for the freedom of the people.

These ideas were refracted primarily through the prism of the issue of women's emancipation. Although the Kazakh society took the path of progress, the woman still remained in slavish dependence. While many limited themselves to condolences to the troubles of the Kazakh, Toraigyrov actively fought for her emancipation. The poet is either annoyed at the humility and timidity of the Kazakh woman, or calls on her to rise up against slavery, to destroy the steel cage of customs.

The theme of women's freedom in Kazakh poetry has a long history. Folklore works are eternal monument Kazakh woman, a former victim of inertia and cruelty of the steppe order.

In the poem "Unfortunate Beauty" A. Galimov draws the tragedy of a young Kazakh woman who withers like a plucked wild flower. But the best in the Kazakh lyrics on this topic is, perhaps, the poem "Jamila Girl" by S. Donentaev. It captivates with vitality, harsh realism.

The poem ends with the words of Tokish, Jamila's father, in which he expresses concern not for the happiness of his own daughter, but for her successful marriage: “Let anyone marry her, even an old man, even the devil, if only I get cattle for her.” it satirical work Donentaev, built on the method of "self-disclosure" of the hero, is one of the significant finds of Kazakh literature of the beginning of the century in the field of realistic embodiment of the fate of a Kazakh woman.

The poem "Gulkashima" (1903) by M. Seralin is one of the first epic works where a family conflict is resolved by a tragic outcome. The plot of the poem is simple. The young poet Baimagambet and the beautiful Gulkashima love each other. But the girl for a big kalym is passed off as another. Baimagambet, convinced of the unfulfillment of his dream to unite with Gulkashima, commits suicide.

The hero's protest against despotic customs, as it were, anticipates the more decisive actions of the fighters for the liberation of women in the works written in subsequent years. Among the significant works on this topic is Toraigyrov's novel Beauty Kamar (1914).

The life of a Kazakh woman in this novel is depicted against the backdrop of a series of social clashes that allow the author to reveal the nature of social evil that brings death to a person. Indifferent to the interests of the people, ignorant, but greedy for power, ready to sacrifice not only their fortune, but also their daughters, the steppe rulers appear in another novel by Toraigyrov, “Who is to blame?” (1914-1915).

In the novel, on the fate of three generations of a feudal-patriarchal family (the once omnipotent power of Tasbolat has been significantly lost by his son Azhibay, who suffers a series of defeats in elections to the steppe volost governing bodies; Kabysh, the last offspring of the clan of feudal lords who live out their lives in drunkenness and revelry) the author comprehends the trends historical development Kazakh society.

In the poem "Lost Life" (1919) Toraigyrov talks about social inequality, about power. “All the blessings in life belong only to the strong,” “words about justice, honor and humanity serve the rich to deceive the weak,” says the poet.

He connects the dreams and aspirations of the people about a just society with a world in which there will be no deceit, enmity, the power of money, talents will not die, everyone will live by their own labor and no one will dare to exploit the labor of others. The poet anticipates that this new world is not so far away: "Remember, friends, my words, the whole world will soon be transformed."

The master of short satirical poems S. Donentaev in the fable "The Lark" asks questions: how much injustice can be tolerated and what needs to be done to end it?

Criticism of the reactionary clergy, as is known, is one of the important traditions of the 19th century enlighteners. At the beginning of the XX century. the supporters of these ideas pose and solve the most important questions of social and spiritual life with the utmost acuteness.

The theme of the “little man”, which was first addressed by Altynsarin, is continued by democratically minded writers. So, in the poem "The Poor Man" (1919), Toraigyrov creates a truthful, memorable image of a poor man with a face earthy from constant malnutrition, with a bag over his shoulders. “My heart, my soul… I am by no means inferior to the bais, except that they are rich and I am not,” the poor man says bitterly.

In the novel "Kalym" (1913) by S. Kubeev, a kind of reshuffling of forces takes place: a viable group of poor youth begins to push the positions of the once strong clan of the rich. Poor Kozhan and his beloved Gaisha win.

The moral and ethical conclusion of the novel is this: the rich, no matter how strong they are at the present time, are not at all invincible, they can be overcome, but for this it is necessary to unite. In the novel "Kalym" an expressive, historically specific and reliable image was created working man, whose level of political consciousness predetermined the participation of the Kazakhs in the people's liberation movement of 1916.

The merit of the literature of the pre-October period is that it created its own reader, who in turn began to influence its development. If in the 19th century democratic ideas nourished the work of only individual writers, now they permeate all literature, constantly gaining more and more new supporters. The democratic worldview united poets and writers of various stylistic manners.

So, romantic pathos is characteristic of Toraigyrov's work, Kubeev prefers realistic narration. Donentaev prefers satirical genres: fables, allegories, etc.

In the first decades of the 20th century account for the beginning of the work of poets and writers, public figures, who became victims of unjustified repressions of the 30s: A. Baitursynov (1873-1938), M. Zhumabaeva (1893-1938), Zh. Aimautov (1889-1931), M. Dulatov (1885-1935). After years oblivion, it returns to the reader at the end of the 80s, demonstrating the continuity and inseparability of the literary process of the era.

Kazakh literature reflected historical truth about the Kazakh people on the eve of October, traced the confrontation of social forces, created images of new people who were to live in a new world. The connections of Kazakh literature are expanding, primarily with Russian, as well as with other literatures of the region.

The strengthening of its democracy and humanism was facilitated by translations from Russian classics, from the classics of other peoples of Russia.

An important role, for example, in the development of the revolutionary self-consciousness of the Kazakhs was played by the works Tatar writers, especially Gabdulla Tukay. The democratization of the literary language continued, which made the artistic word more effective.

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

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 activity. 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. In addition to 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 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 Haikdp magazine, of which he was editor-in-chief, became a significant phenomenon in cultural life 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. creative way Kobeev 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, which gravitated mainly to the topic of social inequality. Then he begins work on the novel "Kamar Sulu".
Philosophical and ethical literature. It received great development at the beginning of the 20th century. philosophical and ethical literature, the most prominent representatives of which were Shakarim Kutsayberdyuly, Mukhammed Salim Kashimov, Mashgur-Jusup Kopeiuly.
A special role in the development of 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 In the novel Dubrovsky, Shakarim names his teachers: Byron, Pushkin, Lermontov, Nekrasov, Hafiz, Nauai, Fizuli, Kant, Schopenhauer, and others. 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: “What I saw amazing phenomenon 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 the political life of the country.
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.

Centuries, already by this time, the Turkic-speaking tribes of Kazakhstan had an oral poetic tradition, dating back to more early 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 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 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").

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

AT Soviet period most famous in the USSR, the work of the Kazakh folk poet-akyn Zhambyl Zhabaev, who sang to the accompaniment of a dombra in the tolgau style, acquired. 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 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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