Stories of Kazakh writers. Kazakh literature at the beginning of the 20th century

Literary processes went in two directions: oral creativity and written literature. Oral creativity developed in the form of aitys of akyns, dastans, heroic and lyrical epic poems, fairy tales, sayings and proverbs, riddles, etc. The end of the 111th - the middle of the 19th centuries. - this is the period of origin and the beginning of the development of individual poetic creativity.

Several works of the famous zhyrau of the 18th century have been preserved. Bukhara Kalkamanuly (1693-1787), who has a prominent place in the history of Kazakh literature. Bukhar-zhyrau was born and raised on the territory of the current Bayanaul district of the Pavlodar region. He created many didactic songs-reflections, expressing the idea of ​​preserving and strengthening independence, supported the Khan of the Middle Zhuz Abylai. Bukhar, at the same time, correctly reflected in his work certain important historical events of his time. One of the core themes of the compositions of Bukhar-zhyrau is love for the Motherland, patriotism. He sang the liberation struggle of the Kazakh people against the Dzungarian invaders, called the people to unity, to exploits, glorified the heroes of this struggle - the batyrs of Bogembay, Kabanbay, Zhanybek. In the songs “Desire”, “?y, Abylai”, “Death of a High Mountain” and others, he figuratively expounded his thoughts about human life and morality in poetic form.

Zhyrau dreamed of a strong centralized state, uniting all three Kazakh zhuzes. At a time when Kazakhstan was exhausted by the attacks of external enemies and internal strife, Ablai was the strongest of the khans. Bukhar sang the image of the khan as a figure, as a figure, called to realize the best ideas of the people, approved of his policy of maneuvering between Russia and China.

The writings of Bukhara, who, thanks to his talent, enjoyed great prestige not only among the khans, sultans and large feudal lords, but also among the people, were a powerful ideological force that had a beneficial effect on the public consciousness of the Kazakhs of the 18th century.

The songs of other zhyraus - Tatticara, Umbeteya, Shala, Kotesh - have been preserved fragmentarily. Known zhoktau - memorial song of Umbetey, dedicated to the death of the batyr Bogembay, in which the akyn sings of his exploits in battles with the Dzungars. He creates a bright, impressive image of Bohemian. Bogembai in Umbetey zhoktau is an ideal image of the defender of the people.

A major singer - improviser and storyteller of the 18th century. was Tatticara. The poet participated as an ordinary soldier in many battles. In poems born in campaigns, he urged the soldiers not to bow to any difficulties in the struggle for freedom.

The singers Shal, Kotesh, Zhankisi-zhyrau, who lived at the beginning of the 19th century, in their songs exposed social inequality, the khans' violence against the people. Zhankisi with anger and bitterness pointed out the cruelty and violence of the Kokand beks.

Songs of akyns - improvisers were performed in an understandable language, accessible to the masses.

Aktamberdy - zhyrau (1675-1768) was an akyn of the epic genre. In his songs, he admired the heroism and valor of the batyrs.

Akyn urged the young generation of his time to perseverance and courage, to military courage, valor.

Bukhar, Zhankisi, Tatikara, Aktamberdy and other singers - improvisers and storytellers, whose songs and stories have come down to us, are the initiators of individual poetic creativity in Kazakh literature. Their songs in many ways differed from the epic and ritual poetry of the previous era. In these works, civic motives were more pronounced than before, the life of the people was more fully revealed, despite the contradictions characteristic of the work of many zhyraus of the 18th and early 19th centuries, they occupy a prominent place in the history of Kazakh literature.

The songs of this period are more perfect in their artistic form than the songs of earlier times. These songs, which retained all the main features and traditions of oral creativity of the Kazakhs, already had elements characteristic of written poetry.

In numerous aitys (competitions) of the 19th - early 20th centuries. Akyns Zhanak, Shozhe, Akan Sere, Suyunbai, Zhambyl, Sara Tastanbekova, Aset Naimanbaev, Birzhan sal were distinguished by wit, resourcefulness, improvisation, deep knowledge of customs, traditions, language.

In the 19th century the birth of the Kazakh press began. On April 28, 1870, the first issue of the newspaper "Turkestan ualayaty" was published. It was published in Kazakh and Uzbek languages. Materials about Chokan Valikhanov, the uprising of the Kazakhs Mangystau in 1870 were printed on its pages.

In 1911, the first Kazakh magazine "Aykap" was published, during the four years of its existence 88 issues were published. In 1913-1918. the newspaper "Kazakh" was published. "Haykap" and "Kazakh" covered all aspects of society. They advocated the transition of the Kazakhs to a settled way of life and the mastery of agricultural culture, at the same time, without denying the significance and place of nomadism, boldly raised women's and national issues, disseminated medical, agronomic knowledge, supported the idea of ​​convening the All-Kazakh Congress.

The publication of books by Kazakh authors expanded. Works by Abai Kunanbaev, Chokan Valikhanov, Ibrai Altynsarin, Akhmet Baitursynov, Myrzhakyp Dulatov, Abubakir Divaev and many others were published in St. Petersburg, Kazan, Orenburg, Tashkent. In 1912, the printing house "Zhardem" ("Help") was established in Semipalatinsk, specializing in the production of books in the Kazakh language. Before the October Revolution, about 700 book titles were published in the Kazakh language (not counting reprints).

However, not all spiritual values ​​and cultural achievements reached the people. The mass illiteracy of the population, the paucity of cultural and educational institutions, and the colonial policy of tsarism had an effect.

The founders of the Kazakh written literature is A. Kunanbaev. He was born (1845--1904) in the Chinggis mountains of the Semipalatinsk region in the family of a foreman of the Tobykta family. He received his initial education at home, with a hired mullah. Abay was then sent to the madrasah of the Semipalatinsk imam Akhmet-Riza. However, not allowing Abai to finish his studies in the city, his father returned him to the village and began to gradually prepare him for the judicial and future administrative activities of the head of the clan. Abai mastered the techniques of conducting verbal tournaments, in which the main weapon was honed eloquence, wit and resourcefulness. The trial was conducted on the basis of the customary law of the Kazakhs that existed for centuries. For twenty years, Abai, already a mature man, studied folk poetry, oriental poets and Russian classical literature. In 1886, at the age of 40, Abay wrote his poem "Summer", the next twenty years of his life were spent in poetic activity.

Abai was the bearer of everything new, progressive in the Kazakh society. In his opinion, every thinking person had to develop his own conscious attitude to the surrounding reality. He wanted to see human society good and reasonable, progressively developing.

The desire for the progressive development of society, where a person is exalted by "reason, science, will", was one of the main directions of Abai's work. Abai Kunanbayev saw the ways of serving the human society by each person individually, first of all, in labor, as a means of achieving and flourishing the material and spiritual benefits of society.

All of Abay's work is permeated with the ideas of intransigence towards inaction. Human character, in his opinion, is tempered only in the struggle with difficulties, in overcoming them. The poet deeply believed in the creative forces of the people, although he understood that under the modern conditions of social life, the masses do not have the opportunity to fully enjoy the fruits of their labor.

Abay saw ways to improve the life of the working masses in changing the economic basis of society. Abay connected the progressive development of the Kazakhs with the development of agriculture, crafts and trade. These three levers of economic development are the subject of constant attention of the Kazakh educator, and, in his opinion, the masses should be guided by them.

Abai had a clearly developed point of view on the relationship with other peoples inhabiting Russia. The basic principle by which he was guided in this was the principle of respect, friendship and equality.

19th - early 20th century was a period of unprecedented rise in the musical culture of the Kazakh people. Composers Kurmangazy, Dauletkerey, Dina Nurpeisova, Tattimbet, Kazangap, Seitek, Ikhlas created immortal kuis. The entire Kazakh steppe sang the songs of Birzhan Sala, Akhan sire. Mukhita, Abay, Baluan sholaka, Zhayau Musa, Madi, Ibrai, Yestai and others. The work of folk composers reflected a man's ardent love for his native land, glorified the beauty of nature, contained moral and aesthetic values. It captured the growth of social tension in society, the desire of ordinary people to live in peace and prosperity. So, the first musical work of Kurmangazy "Kishkentai" was dedicated to the uprising of Isatai and Makhambet, and the events of 1916 caused the creation of Dina Nurpeisova's kui "Set". If the song "Gakku" by Ibrai has become a kind of hymn of love, then "Zauresh" by Mukhita, according to the definition of academician A. Zhubanov, is a real "Requiem". The songs of Abai and Zhayau Musa were rich in elements of European musical culture.

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oral literature

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". 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).

Kazakh oral literature of the XV-XIX centuries

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

The earliest works of Kazakh oral folk art, whose authorship can be considered established, belong to c. In the XVI-XVII centuries. the works of the legendary Asan-Kaigy, the akyns Dospambet, Shalkiz, as well as Bukhar-zhyrau Kalkamanov, the author of sharp political poems, were well known. In Kazakhstan, a tradition has developed of holding song and poetry competitions between akyns - the so-called aitys. Such genres of songs began to stand out, such as tolgau - philosophical reflection, arnau - dedication, etc. In the 18th-19th centuries. in the works of Kazakh akyns Makhambet Utemisov, Sherniyaz Zharylgasov, Suyunbay Aronov, new themes appear - calls for a fight against beys and biys. At the same time, akyns Dulat Babataev, Shortanbai Kanaev, Murat Monkeyev represented a conservative trend, idealizing the patriarchal past and praising religion. Akyns 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 of public opinion, defending social justice.

The origin of Kazakh written literature

Kazakh written literature in its modern form begins to take shape only in the second half of the 19th century. under the influence of contacts and dialogues with Russian and Western cultures. 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 Jamal" (), which went through several editions and aroused great interest among Russian critics and the Kazakh public, gained great fame. He also translated Pushkin, Lermontov, Krylov, Schiller, was a reformer of the Kazakh literary language.

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

Creativity of Zhambyl Zhabaev

In the Soviet period, the work of the Kazakh folk poet-akyn Zhambyl Zhabaev, who sang to the accompaniment of a dombra in the tolgau style, became most famous in the USSR. Many epics were recorded from his words, for example, "Suranshi-batyr" and "Utegen-batyr". After the October Revolution, new themes appeared in Dzhambul's work ("Hymn to October", "My Motherland", "In Lenin's Mausoleum", "Lenin and Stalin"). His songs included almost all the heroes of the Soviet power pantheon, they were given the features of heroes, heroes. Zhambul's songs were translated into Russian and the languages ​​of the peoples of the USSR, received national recognition and were fully used by Soviet propaganda. During the Great Patriotic War, Zhambyl wrote patriotic works calling on the Soviet people to fight the enemy (“Leningraders, my children!”, “At the hour when Stalin calls”, etc.)

Literature of the second quarter of the 20th century

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

In 1926, the Kazakh Association of Proletarian Writers was established, 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 Tale 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.

In 1954, Mukhtar Auezov completed a tetralogy that received a response in many countries - the epic novel "The Way of Abai", dedicated to the life of the great Kazakh poet Abai Kunanbayev. Post-war Kazakh literature began to master large-scale literary forms of the great Soviet style - novels, trilogies, poems and novels in verse. Dramaturgy and science fiction also developed.

Creativity of Olzhas Suleimenov

In the 1970s, the book of the Kazakh poet and writer Olzhas Suleimenov "Az and I" attracted the attention of readers. In it, he developed ideas about the relationship between the Kazakhs and the ancient Sumerians, drew attention to the large number of words of Turkic origin in the Russian language, which, in his opinion, spoke of the strong influence of Turkic culture on Russian. However, in a lively discussion that unfolded in the press, Suleimenov was accused of pan-Turkism and nationalism.

Kazakh literature

Kazakh literature is characterized by epic and lyrical traditions, which have their roots in the depths of centuries. Until the middle of the 19th century, rich folk poetry, covering all genres (especially heroic songs, lyrics, songs, fairy tales and legends), was the only possible form in which the Kazakh people could express their views on past and present life, their dreams of a wonderful future.

Individual poetic creativity reaches its pronounced character in the poetry of akyns, starting from the 18th century. Significant representatives of this genre were Bukhar-zhyrau Kalkamanov (1693-1787), Makhambet Utemisov (1804-1846) and Sherniyaz Zharylgasov (1817-1881). In the work of folk singers - akyns (aitysakh, tolgau), two main trends are determined: 1) democratic, expressing the aspirations of the people, their aspirations for better living conditions, which they could achieve with the help of the friendly Russian people, 2) promoting the existing system, glorifying the dominant the feudal elite in the person of beys and representatives of the Islamic religion.

Only with the final political, economic, and at the same time. and the cultural accession of Kazakhstan to Russia, an independent fiction began to take shape. Although in 1807 the first book was published in the Kazakh language, which then used the Arabic alphabet (only since 1940 did the Kazakh writing switch to the Russian alphabet), nevertheless, the decisive impulses for the spiritual and cultural development of Kazakhstan began to come only from contact with Russian revolutionary-democratic circles. Russian orientalists, such as Vasily Radlov (1837-1918), collected and recorded works of oral folk art of the Kazakhs. Under the influence of the ideas of Russian revolutionary democracy in the 19th century, a broad educational movement began, which in turn paved the way for the development of national Kazakh literature. Of great importance was the creative activity of the first outstanding Kazakh scientist Chokan Valikhanov (1835-1865), as well as the educator Ibrai Altynsarin (1841-1,889), a writer and teacher, he was one of the creators of writing based on the Russian alphabet.

Kazakh poetry reached its peak and at the same time its classical high point (other genres were not yet so developed) in the work of Abai Kunanbaev (1845-1904), who is the founder of modern Kazakh literature. Thanks to his great translation activity, Russian literature became the property of the Kazakh intelligentsia, which at that time numbered a small number of educated people in its ranks.

The beginning of critical realism in the work of Abai Kunanbaev was continued by other artists who created important prerequisites for later Soviet literature: Spandiyar Kubeev (1878-1956), creator of the first Kazakh novel Kalym; Sabit Donentaev (1894-1933), who was one of the first Kazakhs to sing of socialist life; Sultanmakhmut Toraigyrov (1893-1920), who, thanks to his realistic poetry, can probably be regarded as the most significant follower of Abai.

And yet ... only with the establishment of Soviet power (1917), with colossal transformations in industry and agriculture, with the cultural revolution, a qualitatively new stage in the development of Kazakh national literature began. Kazakh Soviet literature draws artistic means to illuminate new areas of reality from the traditions of democratic folklore, with its broad epic generalizations, its desire to depict heroic characters, with its poetic language, and gradually frees itself from certain didactic features of reactionary prejudices. In addition, it relies on the achievements of pre-revolutionary critical and realistic literature. At the same time, there are interesting interactions between folklore and literature, which find their clear expression in the work of Dzhambul Dzhabaev (1846-1945).

The founders of Kazakh Soviet literature, who made a significant contribution to the formation and development of the method of socialist realism, include Saken Seifullin (1894-1938), Ilyas Dzhansugurov (1894-1938), Beimbet Mailin (1894-1938) and Sabit Mukanov (born 1900), which in a certain way established the continuity and continuity between pre-revolutionary democratic traditions and modern socialist literature. With their poems and poems (S. Seifullin, I. Dzhansugurov), short stories (B. Mailin), novels (S. Mukanov, I. Dzhansugurov) and dramas (S. Seifulliy), they determined the development of Kazakh Soviet literature in the 20-30s .

The new reality required a constant search for new artistic means of expression, which were found either in Kazakh traditions, or in Russian or other literature. In the 20s in poetry, as in the main genre, thematically; the pathos of the revolution and the joy of a new life dominated, which in bright contrast was opposed to the difficult past. Therefore, expressive political poetry, which had an artistic, and, above all, propaganda, value, developed predominantly. In the poems of S. Seifullin and I. Dzhansugurov, an attempt was made to assess the new reality in a broad epic generalization. The satirical poetry of S. Donentaev, the dramatic work of Zhumat Shanin (1891-1938), the prose of S. Seifullin, V. Mailin and Mukhtar Auezov (1897-1961) are of value.

The founding of the Union of Writers of Kazakhstan (1934) was of fundamental importance for the further development of Kazakh Soviet literature. The main theme of the rapidly developing prose in these years was the depiction of socialist labor and its creators, the depiction of collectivization (G. Musrepov) and industrialization (S. Mukanov and S. Erubaev). During the Second World War, literature, especially the songs of Dzhambul Dzhabaev, played an important role in the patriotic education of the masses. After the war, prose began to develop as the leading genre. Famous writers whose work began much earlier are Gabiden Mustafin (born in 1902), Askar Tok-Magambetov (born in 1905), Abdilda Tazhibaev (born in 1909), Kasym Amanzholov (1911— 1955), Tair Zharokov (1908-1965), Gali Ormanov (born in 1907), Syr-bay Maulenov (born in 1922), Olzhas Suleimenov (born in 1936) and others. Thanks to the epic novel "The Way of Abai" by M. Auezov and the novels by G. Mustafin, Kazakh Soviet literature gained importance in world 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 in the Turkic languages ​​- "Korkyt-Ata" and "Oguzname" - have developed. The orally circulated epic "Korkyt-Ata", which arose in the Kypchak-Oguz environment in the Syrdarya River basin around the 8th-10th centuries. , was recorded in the XIV-XVI centuries. Turkish writers in the form of "The Book of Grandfather Korkyt". In fact, Korkyt is a real person, a bek of the Oguz-Kypchak tribe of kiyat, who is considered the founder of the epic genre and musical works for kobyz. The epos "Korkyt-Ata" consists of 12 poems and stories about the adventures of the Oguz heroes and heroes. It mentions such Turkic tribes as Usuns and Kangly.

The poem "Oguzname" is dedicated to the childhood of the Turkic ruler Oguz Khan, his exploits and victories, marriage and the birth of sons, whose names were Sun, Moon, Star, Sky, Mountain and Sea. Having become the ruler of the Uighurs, Oguz waged wars with Altyn (China) and Urum (Byzantium). Also in this work, the question of the origin of the Slavs, Karluks, Kangars, Kypchaks and other tribes is discussed.

Heroic and lyric poems

It is no secret that even from the moment of the birth of the Kazakh poetic tradition, its main and obligatory figure was the national poet-improviser - akyn. It is thanks to the akyns that numerous epic works, fairy tales, songs, poems, written several centuries ago, have come down to us. Kazakh folklore includes more than 40 genre varieties, some of which are characteristic only for him - 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

In the Soviet period, the work of the Kazakh folk poet-akyn Zhambyl Zhabaev, who sang to the accompaniment of a dombra in the tolgau style, became most famous in the USSR. Many epics were recorded from his words, for example, "Suranshi-batyr" and "Utegen-batyr". After the October Revolution, new themes appeared in Dzhambul's work ("Hymn to October", "My Motherland", "In Lenin's Mausoleum", "Lenin and Stalin"). His songs included almost all the heroes of the Soviet power pantheon, they were given the features of heroes, heroes. Zhambul's songs were translated into Russian and the languages ​​of the peoples of the USSR, received national recognition and were fully used by Soviet propaganda. During the Great Patriotic War, Zhambyl wrote patriotic works calling on the Soviet people to fight the enemy (“Leningraders, my children!”, “At the hour when Stalin calls”, etc.)

Literature of the second quarter of the 20th century

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

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

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

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

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

Some akyns, such as Baytok, Zhanuzak, Nysanbay, Doskhozha, glorified khans and sultans, justified their cruelty, supported the feudal-tribal law and order, and idealized patriarchal antiquity. The work of two major akyns Dulat Babataev and Shortanbay Kanaev is contradictory.

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

Criticizing the feudal-patriarchal way of life, he opposed the cruel attitude of the tsarist officials, the new administration to the local population. However, drawing any aspect of life, he invariably came to the conclusion that life had not changed for the better, that its happy time was left behind ("From the nomad camp of Arka's ancestors").

Even when Dulat turns to the development of traditional themes of oriental poetry about the confrontation between good and evil, friendship and hatred, generosity and stinginess, he bitterly mourns the past, claims that young people have ceased to respect their parents, younger ones - older ones. He sees the era in the fact that the morals of people have changed so dramatically.

The work of Shortanbai Kanaev (1818-1881) seems to complement the poetic heritage of Dulat. Shortanbay's only poetry collection "Shortanbaidyn bala zary" ("Crying child of Shortanbay") was first published in Kazan in 1888.

In this book, starting with the poem "Our Forefather Adam" and ending with the poem "Everything is known to Allah alone", the poet considers the same problems that Dulat paid his attention to, but solves them from the orthodox Muslim positions.

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

However, remaining a deeply religious person, a supporter of feudal-patriarchal mores, Shortanbai in some verses, such as, for example, “God-damned bai” and others, truthfully depicts the hard life of the poor.

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

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

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

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

In the years preceding the uprising, Makhambet appealed to the people with fiery verses, urging them to boldly rise up against the oppressors (“A call to the people”, “A matter of honor”, ​​“Our cause needs a Nar”, etc.).

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

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

The poems addressed to the rebels are imbued with a sense of comradeship, care and sincere sympathy for the heroes who died in battle. His poems “Appeal to friends”, “Do not be sad, my friends”, “Valorous son”, “Happiness will return to us” rallied and inspired the rebels with the power of emotional impact.

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

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

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

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

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

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

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

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