Textbook on Bashkir literature. Problems of studying Bashkir literature
As a manuscript
SHARAFUTDINOVA LILIYA RAGITOVNA
Specialty: 01/10/02 – Literature of the peoples of the Russian Federation
candidate philological sciences
The work was carried out at the Department of Bashkir Literature and Folklore of the State Educational Institution of Higher Professional Education "Bashkir State University"
Scientific supervisor: corresponding member of the Academy of Sciences of the Republic of Belarus,
Doctor of Philology, Professor
Baimov Robert Nurmukhametovich
Official opponents: Doctor of Philology, Professor
Nurgalin Zinnur Akhmadeevich
Candidate of Philological Sciences, Associate Professor
Nadergulov Minlegali Khusainovich
Leading organization: Sterlitamak State Social and Pedagogical Academy
The defense will take place on June 20, 2007 at __ o'clock at a meeting of the dissertation council D - 212.013.06. for the defense of dissertations for the degree of Doctor of Philology at the Bashkir State University at the address: 450074, Ufa, 32 Frunze St., main building.
The dissertation can be found in the scientific library of the Bashkir State University.
Scientific secretary of the dissertation council,
Doctor of Philology, Professor A.A. Fedorov
GENERAL DESCRIPTION OF WORK
The relevance of research is justified by the fact that Islamic civilization, which has created its own original intellectual world and its own intellectual life, is today making its own contribution to increasing the share of social and spiritual immortality. The idea of immortality, which permeates Islam, is social and spiritual life itself. But the main meaning of the idea of immortality lies in the spiritualization of nature and society, which is reflected in Sufism, which arose on Islamic soil. Sufism, with its humanistic and freedom-loving orientation, had a huge influence on the development of philosophical, aesthetic, social and ethical thought throughout the Middle Ages in the Near and Middle East, the Ural-Volga region, including Bashkortostan. The attractiveness of Sufism for wide sections of the population lies in the fact that the path of intuitive knowledge of God merges here with the moral self-purification of the individual, its self-improvement, focus on the problems of man, his spiritual world, his thoughts, intentions and perception of life.
The dissertation examines the evolution and artistic reflection of the philosophical thought of Sufism, its poetic traditions on the formation and development of Bashkir literature, mainly poetic.
Currently, it is very important to determine new directions of literary research based on the deep structures of literature itself, to reveal its specificity as a type artistic creativity.
In this regard, one of the current areas of modern literary criticism is the study of the historical and literary process from the point of view of the interaction of Eastern, including Sufi, and national traditions, which allows you to combine the analysis of general patterns of literary development with their individual creative direction.
The degree of development of the problem. In Bashkir literary criticism there are already serious works on the problem of Sufism, examining its genesis, history of formation and spread. Back in the second half of the twentieth century, A. Kharisov analyzed the history of the formation and development of Sufism and Sufi literature in artistic heritage Bashkir. Using the example of the work of Bashkir Sufi poets, such as A. Kargaly, Kh. Salikhov, Sh. Zaki, he showed the presence of canonical poetics characteristic of traditional Sufi poetry of the East and distinctive features that are characteristic only of Sufi poets of Bashkortostan.
In the study of Sufism and Sufi literature, a significant place is occupied by the research of G.B. Khusainov, who in his works traces the evolution of Sufism from the classical poetry of Akhmet Yasawi to the literature of the 18th century, which is the common literary heritage of the Bashkirs and Tatars.
Gradually, in this ascetic movement of Islam, mystical moods began to grow in the form of a feeling of inescapable longing for God, a feeling of endless love for him and a desire to unite with him. A significant contribution to the development of Sufism in the orgiastic direction was made by Rabia (d. 801), whose love for her lover turned (in search of earthly equality and happiness) into love for God, and her songs and dances became a kind of path to merging with the divine The truth. The very choice of folk songs and dances as means of achieving the Truth was an insolence in relation to the canons of Islam. This is how the second pillar of Sufism is formed - mysticism.
The sanctity of the place (the mosque) was abandoned, as was the mediation of the clergy between God and man. Every poor person, even if he belonged to the lowest class, could directly “talk to God”, “merge” with him. Thus, in the 9th century, the third pillar of Sufism began to take shape - pantheism, the religious and philosophical doctrine of the unity of the material and spiritual world. According to this teaching, God is nature itself. The Sufi thesis “I am God” or “Everything is God” led to the knowledge of the divine principle in man, his similarity to the Divine. These ideas opened the way for Sufis to freedom of action and freedom of thought. It is in these views and actions that one of the main contradictions between Sufism and orthodox Islam lies.
In the 10th-11th centuries, Sufi practice was systematized and acquired a very orderly and harmonious appearance (the doctrine of the path, its “stops” and “states”, the concept of moral self-purification and self-improvement). In the XII-XIII centuries, the formation of Sufi orders and brotherhoods began, where Sufism absorbed and adapted the ideas of ancient philosophy, Christianity, Zoroastrianism, combining them with local cult traditions. At the same time, a grandiose philosophical synthesis of the Sufi worldview appeared, carried out by Ibn al-Arabi. In the X-XIII centuries. Sufi terminology, symbolism and metaphor were finally taking shape, which determined the powerful influence of Sufism on Arabic and Persian poetry, many of the images and ideas of which are understandable only in the Sufi context.
Abdallah Ansari (1002-1088) is considered one of the first Sufi figures in literature. Ansari wrote his Sufi works in Farsi and Arabic and touched upon different sides Sufi teachings. The most significant are considered to be his theoretical works: “Stations of travelers”, “Lights of penetration into the truth”, which outlines the steps and evolution of self-improvement of a person following the path of tariqa. The didactic treatise “Pseudo-Station” condemns immorality and immorality in people’s actions, makes high moral and ethical demands on society, fights for the moral purity of Sufis, exposes self-serving sheikhs and deceitful Sufis. The collection of lives of Sufis “Classes of Sufis”, “The Book of the Dervish” set out the foundations of the teaching of asceticism-dervishism, give instructions for “seekers of truth”, and depict their experiences. Ansari, perceiving God as a pantheist (the soul and body are one, God is diffused in the material world), in the treatises “Conversations with God”, “The Book of Love”, the epic work “The Divine Book” directly addresses the Creator, touches on the problems of the divine sphere.
The significance of Ansari's work for the development of Sufi literature was enormous. The author brought literature closer to the formation of Sufi qasida and ghazal, didactic masnavi, and Sufi edifying literature. Motifs from his poems were used by subsequent Sufi poets.
Another prominent poet of Sufism was Sanai (1048-1126). Sanai, as a Sufi poet, in his poems touched upon the foundations of Sufism, preaching asceticism, and the teachings of the dervishes. In the poet's Sufi lyrics, two plans can be outlined: in some poems he spoke about Sufi teaching without any disguise, in others he resorted to conventional imagery. Firstly, he presented provisions related to theory, and secondly, he touched upon the area of internal experiences. In Sanai's works, along with Sufi ideology, faith in the justice of the ruler is still palpable. In poems that sometimes have socio-political significance, along with preaching the fragility of the world and asceticism, there are thoughts that testify to his worldview going beyond the teachings of the dervishes. Sanai says that “a person is due moral greatness in both worlds.” The main condition for this is kind and fair treatment of people, especially the poor. Thus, Sanai in his lyrics, speaking out against tyranny, teaches kings not to rob their subjects, threatening the highest court.
The largest didactic poem, “The Garden of Truths,” which has a box composition, combines the forms of everyday didactics and Sufi lyrics. Preaching patience, hermitage and fasting, the ascetic lifestyle of the Sufis, the author at the same time opposes cruelty and social injustice, glorifies reason and knowledge.
The work of Farid ad-din Attar, the creator of large epic works of an instructive nature on Sufi themes, is also of great interest. He was one of the first to create large epic works on Sufism. A special place in his literary heritage is occupied by “Conversation of the Birds” - an allegorical story about the journey of birds to the king - the magical Simurgh, who lives beyond the Caucasus mountains, about the difficulties of this path and about the achievement of the goal by only a few. This goal is the knowledge of “truth”. Only unshakable travelers - thirty birds, symbolizing true ascetics, despite any obstacles, saw the god - “Simurg”, having come to know themselves.
This, of course, is an allegorical story, where the path (flight) of birds, full of hardships and suffering, is the path of a Sufi, the stages of his self-improvement, the path of self-knowledge.
Epic work“The Divine Book”, glorifying the tragic love story of two young people - Bektash and the poetess Rabia Kizdari, is written in the spirit of pantheism (the unity of God and all things). Only death can save lovers. This is what happens. This all-consuming love is directed towards God. Tragic ending The work symbolizes the desire of the spirit for divinity, the unity of God and all things, death as deliverance from earthly suffering.
If the masnavi poem “Book of Advice” belongs to didactic, instructional literature and touches on basic moral and ethical issues, moral problems Sufism, the “Anthology of Saints” presents a collection of information about outstanding Sufi figures.
Thus, Attar’s lyrics are multifaceted and have a Sufi tint - preaching asceticism, renunciation of one’s will, mystical insight, Sufi understanding of issues of body and soul.
In one way or another, such outstanding poet-thinkers as Nizami Ganjavi, D. Rumi, Amir Khosrow Dikhlavi, O. Khayyam, Hafiz, A. Jami were also associated with Sufism to varying degrees.
The leitmotif in Sufism and Sufi literature is the concept of the unity of being, the founder of which is Ibn al-Arabi. According to his concept, God is the only essential reality, absolute perfection, in which all existing realities are “hidden,” and our world is the fruit of the Divine desire to manifest oneself and thus “see one’s own essence.”
The feeling of the omnipresence of God, His immanence in everything is perfectly expressed in the ghazals and rubai of Ibn al-Farid, D. Rumi, A. Jami, Hafiz, Fuzuli, I. Nesimi, etc. Poets expressed these feelings through various symbols. They loved to talk about the ocean, about the waves, about the foam and the drop, which look different every moment and yet are always the same water. Ibn al-Arabi Divine essence represents in visions as a vast green ocean, from which fleeting forms arise, like waves, to disappear again into the bottomless depths. D. Rumi competed with him, many of whose verses also talk about the Divine Ocean. For him, as a great representative of Sufi literature, it is important to perceive the world, its essence through the eyes of the sea, that is, God, and not through the eye of foam, which symbolizes the world of phenomena and everyday life.
In the poetry of A. Jami, images of the sea, waves and foam illustrate the languor of the individual and self-destruction in God (“Being is an ancient sea, deep, bottomless”). In O. Khayyam, a drop becomes a pearl only after it travels from the sea to the clouds, falling back home as a drop, transformed into a treasure that cannot live without the ocean and yet is different from it (“The drop said goodbye to the sea”). In the rubai of I. Nesimi, a drop and an ocean are likened to each other, i.e. the poet exalts man, likens him to God, and thereby opens the way to freedom of action, freedom of thought.
To illustrate the unity and plurality of existence, poets also resorted to other metaphors. Mirza Ghalib, Ibn al-Farid likened the world to fragments of a mirror made of the same material, but reflecting different shapes and paints.
The very moment of cognition of the Truth, contact with it, arises unexpectedly and is similar to “blindness”. Sufis often associate blindness with fire and flame. To convey these feelings, Hafiz uses a paired metaphor: a moth-candle, where the moth achieves unity with the Beloved only by burning in the fire of love.
The theme of love for God, which became central to Sufism, manifested itself with particular force in poetry, where God is associated with the beloved, and the poet with the beloved. Sufi poets usually portrayed the mystic as a love-crazed Majnun. Sufi literature has created many symbols and metaphors to convey divine love. The most common are paired metaphors: moth-candle, nightingale-rose, symbolizing the Lover and the Beloved, i.e. Sufi and God. The moth and nightingale certainly suffer and achieve unity with the Beloved only by “burning in the fire of love” or dying from the deadly pricks of rose thorns. The act of knowing the Truth is compared to intoxication, where a Sufi is an intoxicated person, Truth is wine, a prophet or spiritual mentor is a cupbearer. Subsequently, these symbols and metaphors become traditional images in Sufi literature, and each poet, giving his own interpretation, puts new shades into them.
Thus, Sufism, its philosophy, way of thinking, and visual capabilities contributed to the intensive development of medieval Persian and Arabic literature.
Speaking about Sufi literature, it is necessary to mention Turkish mysticism, which constitutes a significant milestone in the history of the development and spread of Sufism and Sufi poetry among the Turks.
The work of D. Rumi turned out to be life-giving for the development of Turkish Sufi literature. The first great representative of Sufi literature in the Turkic language was Akhmat Yasawi (d. 1116). “Khikmats” by Akhmat Yasawi is the first of the famous sayings of Sufi wisdom written in the Turkic dialect of the Yassy region in the territory of modern Uzbekistan.
D. Rumi sometimes “played” with Turkic words, while his son Sultan Veled in his “Divan” showed mastery of the Turkic language. But the poet who first made the native language a means of expressing Sufi thought was a contemporary of the Sultan of Weleda, Yunus Emre, who lived in central Anatolia. He left Turkey as a legacy a treasury of his simple, deeply emotional, evocative poems.
Yunus Emre's poetry reflects the various stages of a Sufi's journey - asceticism, loneliness in this world, patience, fear, hope, trust in God, the uncertainty that he experiences until he finds peace and a sense of security next to his sheikh.
Often his poems reflect an all-encompassing "cosmic consciousness". The poet feels that both “this” and “that” world are filled with God’s greatness and - at the same time - that his beloved is hidden in his own heart. This allows him to realize the unity of being, i.e. the perception of everything in the spirit of pantheism (the third pillar of Sufism) is the main feature of his work.
Subsequently, Turkish Sufi poetry, covered in the poetics of folk art, is reflected in the literary heritage of Kaygusuz Abdal, Ismail Emre (d. 1973). Thus, the selfless faith in God, which the Sufis taught, largely shaped folk religion both in the capital Istanbul and in forgotten by God villages of Anatolia.
Around the 13th century, Sufism penetrated the Indo-Pakistani subcontinent and gave birth to Sufi poetry in local languages. In the 13th century The fertile lands of modern Pakistan became a refuge for many Sufis, who flocked here from the central regions of the Muslim world, partly due to the threat of the looming Mongol hordes. The tradition of Sufi poetry in the local languages of Sindh and Punjab can be traced back to the 15th century.
Sufi literature, which flourished in Punjab and Sindh, shows a typological affinity. Poets express feelings of comprehensive unity: the Sufi ceases to be an Arab, an Indian, a Turk. Moreover, Hallaj and the judge who tried him—the lover and the theologian—are now conceived as two different manifestations of the same divine reality.
The imagery of the early Pathan Sufis represents an elaboration of the legacy of Persian poetry. This is especially clear in the work of Abdur-Rahman. He is considered the best Pashtun Sufi poet. According to legend, he led a life of abstinence and recluse, and his poetry reflects such sadness and a desire for asceticism. His ascetic poems, his complaints about the transience of this world, his call for the need to prepare for the Day of Resurrection have much in common with the didactic, but at the same time very attractive style of Sanai.
Using an image typical of a resident of Afghanistan, Abdur-Rahman likens the flow of life to moving sand dunes. Many verses are devoted to the praise of God, his creative power.
A large corpus of Sufi poetry emerged in East Bengal. The entire system of imagery in Sufi literature is connected with this very land, where the rivers are deep and flow smoothly and sonorously. The soul is sometimes compared to a water hyacinth, and the heart is likened to small waves on the surface of water, driven by changing winds.
Theories on Sufism were also presented in Bengali. In the 17th century Haji Muhammad considered in his “Book of Light” the problems of wahdat al-wujud and wahdat al-shuhud. However, many serious works were created in Arabic or Persian.
In literature, Sufism appeared in all its variety of interpretations and played a different role depending on the personality of the author himself and his ideological positions. Some used traditional Sufi symbolism in their literally, while others, under the guise of Sufi imagery, rose to denounce contemporary reality. Sufism served as the main external channel for the penetration of the humanistic ideal into literature. It was Sufi literature that affirmed the struggle for man, sang his beauty and greatness, protested against tyranny and religious dogmas, and preached friendship and unity of people.
Thus, Sufism played a huge role in the spiritual life of the peoples of the East and contributed to the intensive development of Farsi and Arabic-language literature, the traditions of which participated in the enrichment and renewal of the Turkic-language literature of the Ural-Volga region.
Chapter two dissertation - “Tasavwuf in the Turkic literature of the Ural-Volga region” - is devoted to the analysis of precisely these problems - the spread of Sufism in literature Turkic peoples of this region.
The ideology of Sufism in the Ural-Volga region, including the literary and cultural life of the Bashkirs, begins to penetrate through the works of Akhmet Yasawi (died in 1166), Suleiman Bakyrgani and other famous Sufi poets.
The works of Ahmet Yasawi “Divani Hikmat” (“Collection of wise sayings”), Suleiman Bakyrgani “The Book of Bakyrgani”, “The Book of the End of the World”, “The Book of Hazrati Maryam” become an encyclopedia of Sufism. The mention of the names of prophets and saints, stories about the trials that befell them, a simple and understandable interpretation of the complex revelations of Islam, and vivid, figurative Turkic speech ensured the popularity of poetry. The creativity of the founders of Sufi poetry in the Turkic language contributed to the consolidation of the genres of khikmet and nasihat in the literature of the Bashkirs, and also enriched the poetics with examples of allegory, allegory, symbolism and metaphors.
For seven to eight centuries, the traditions of Sufism continued to live in the literature of the Ural-Volga region. In the oldest monument of Turkic literature “Kissa-i Yusuf” (1212-1233) Kul Gali, one can also trace the influence of this teaching. This is evidenced by those motifs in the poem Kul Gali that can be interpreted as Sufi: Yusuf’s humility with adversity and his forgiveness (in the scene of parting with his brothers who sold him into the brotherhood); contemplation of the beauty of Yusuf, making the people forget about hunger; condemnation of the vanity and narcissism of Yusuf, who imagined himself to be perfect; motives of patience, self-denial of Zuleikha, who brought his property and beauty to the altar of love; motives of predestination, fatalism. The work sets out in detail the philosophical concepts of Sufism, shows the entire path to the ultimate goal - to merge with God with all mystical stations and states. Kul Gali, being the murid of Akhmet Yasawi, knowing and understanding the main ideas underlying the Yasawi tariqa, uses Sufi motifs in the poem as a means of emotional impact on the reader’s feelings. In this context, the elements of Sufism are not opposed to Islam, but are an accompanying factor, subordinate to the main ideological goal - strengthening the position of monotheism among believers and converting pagans to it. The poem continues the traditions of Sufi poets Akhmat Yasawi and Suleiman Bakyrgani, who propagated Islam among the masses not as a dry, dead doctrine, a set of instructions and prohibitions, but as a “religion of the heart.”
During the era of the Golden Horde, there was a further expansion of the influence of Sufism, which acquired features of protest against the strengthening of social oppression, arbitrariness and violence of the ruling elite of society. The situation becomes especially difficult masses during the decline of the Golden Horde, from the 60s of the 14th century. It is no coincidence that it was in the second half of the 14th century that large works marked by the influence of Sufism “Mukhabbatname” (1358), “Nahj al-Faradis” (1358), “Jumjuma Sultan” (1370) appeared.
Dastan Kharezmi “Mukhabbatname”, which is a collection of individual lyrical passages, is connected by the unity of the theme - love for the beloved. This is a work about love experienced within human limits, but completely rooted in God. In the poet's letters, where the descriptions of the Beloved and the suffering they experience vary, the deep secrets of mystical love are revealed.
The largest number of images in Kharezmi is associated with the image of love. The Beloved is the queen of beauty, she is the qibla of nations, the light of the world, Sarai (Golden Horde) and Chin (China) are all her slaves. To describe his Beloved and the lyrical hero seeking Truth, the author uses traditional visual techniques and means in Sufi poetry: images of the sea, pearls, curls of hair, living water, metaphors of a moth and a candle, a nightingale and a rose, motifs of wine and intoxication, yearning of the soul, suffering and etc. This canonical poetics of Sufism reveals the secret of the love closeness of the lyrical hero to God. The author himself also points to the heavenly origin of these feelings.
Love, in accordance with the traditions of Sufi literature, is depicted as destructive, but at the same time sweet madness, which the lover will not refuse, although he knows that it brings death.
Although the dastan in form and content lyrical work, one can notice the internal structure, which figuratively illustrates the stages of spiritual development, the stages of the Sufi’s elevation to the Beloved (God), to his awareness of his unity with the essence of all things.
Also in the dastan one can hear the motives for affirming the idea of asceticism, manifested in the images of the lyrical hero and the author. The author and the lyrical hero (sometimes he calls himself a fakir, sometimes a dervish, sometimes a lover) express condemnation of immorality in people's actions, and in the address to Muhammad Khoja Bey - the presentation of high moral and ethical demands to society, the struggle for moral purity, characteristic of the sermons of the Sufis. With detachment from material wealth and a friendly attitude towards the people, pride in being higher and freer from the people of the throne and power, the author resembles a Sufi. And from the content of the work it is not difficult to notice that Kharezmi led a wandering lifestyle, like the dervishes, and considered himself the king of contentment with little. This enhances the ascetic mood in the dastan.
The dastan of Hisama Katib “Jumjuma Sultan” is largely imbued with the Sufi spirit. Already turning to the plot associated with the ancient legend of eastern peoples about a severed head indicates the presence of traditions of Islamic culture, including Sufi. IN artistically The timeless, wandering plot has transformed within the framework of the work into time-consonant material, where the motives of pessimism and asceticism prevail.
In the introductory part of the dastan, which is a philosophical reflection on existence, one can hear the motives for affirming the frailty, illusory nature, transience of life, the fragility of human existence, which is so relevant in Sufism.
The plot of the dastan is allegorical in nature. Jumjuma's actions in spatio-temporal terms can be interpreted symbolically. This is an allegorical story where the path of Jumjuma Sultan, full of hardships and suffering, is the path of a Sufi, the stages of his self-improvement, the path of self-knowledge. “His movements vertically and horizontally at symbolic intervals of time (he lived in this world for 1000 years, in that world for 4000 years, and then earthly life again...) is his complex path of spiritual quest, which ultimately led Jumjum to purification, to merging with the absolute ideal - God." And the terrible pictures of hell, where various tortures of sinners are depicted, artistic design the author, on the one hand, serve as a continuation of the traditions of Sufi literature, where they frighten people with episodes of the end of the world and the suffering of sinners in hell. On the other hand, this picture symbolizes the internal struggle of a Sufi, the cleansing of the soul from nafs, difficulties and obstacles on this path.
The prototype of the image of the Sultan Jumjuma is the padishah, who renounced the kingdom and became an unknown Sufi dervish Ibrahim ibn Adham. The author speaks of him with particular warmth. The entire life path of Jumjuma resembles the fate of Ibrahim ibn Adham, who became a symbol of asceticism, detachment from worldly vanity in the name of God.
Along with the allegorical narrative about the spiritual quest of a Sufi, the dastan reflects the condemnation of vices in the actions of many social groups, dissatisfaction with the injustices of life.
Saif Sarai's dastan “Gulistan Bit-Turki” continues the traditions of Sufi literature. In hikayats written in combinations of poetry and rhymed prose, hikmets, nasihat (instructions) and in other compositional units, along with questions of life, everyday life, and morality, motives for affirming the ideas of asceticism, mysticism, and pantheism are heard. This is evidenced by the very title of the chapters: Chapter 2. – “On the Morals of Dervishes”, Chapter 3. – “On the benefits of being content with little,” chapter 4. – “On the advantages of silence”, 5 chapters. – “About love and youth”, 7 chapters. - “On the influence of education.” The instructions are not imposed, but, as in tasawwuf, are presented in bright paintings and specific images. Striving for emotionality, rhythmic nature of speech, brevity of presentation, abundant use folk expressions, images borrowed from folk art - all this connects with the traditions of Sufi literature.
The spread of ascetic mood and Sufi-mystical feelings in the region is associated with the works of Mahmud Gali “Nahj al-Faradis” (1390), Nasretdin Rabguzi “Qissas al-anbiya” (1311), Muhammad Chelebi “Muhammadiyya” (1449). ), with hagiographic literature: “Qissa about the batyr Gali”, “Kissa-i Sakam”, “Kissa-i Akhtyam”, “Kissa-i Akhtyam”, “Qissa-i Hasan-Hussein”, “Qissa-i Mansur al- Hallaj", "Qissa-i Ibrahim ibn Adham". Inspired by the epic traditions of Sufi literature, they call on people to renounce the transitory joys of life and affirm the meaninglessness of earthly existence.
The further development of Sufism in the Ural-Volga region is associated with the work of Mavlya Kuluy, whose hikmats resemble the encyclopedia of tasavwuf, Gabdrakhim Usmanov, Tadzhetdin Yalchygulov (XVII-XVIII centuries).
The canonical poetics of Sufism is represented by Mavlya Kuluy with examples brought to perfection. Using traditional symbolic images of the sea, caravan, garden, rose, nightingale, drop, wine, etc., he draws images from Everyday life, investing in them a mystical meaning. Problems of morality and ethics, ethics, spiritual values are depicted in contrasting comparisons, conveyed by antitheses, comparisons, and parallelism. And the hikmats associated with the tradition of Sufi literature have been brought to perfection and resemble modern poetic cycles.
The works of Gabdrakhim Usmanov (“Gifts of Time”, “Gurbatname”, “Admonitions that Purify Thought”, “Main Signs of the Time”), Tadzhetdin Yalchygulov (“Risalai Gaziza”) are characterized by the motifs of affirmation of asceticism, humility, patience, chosenness of the Sufi, renunciation worldly goods, selfless love for God, yearning of the individual and self-destruction in general. The problems of false Sufism are raised and their specific features are created through various life collisions.
However, in the works of Mavlya Kuluy, Gabdrakhim Usmanov, Tadzhetdin Yalchygulov, the voice of a person is heard, under the cover of Sufi symbolism, protesting against spiritual and social oppression. Secular motives and realistic life content are manifested in pictures of condemnation of immorality in the actions of the ruling elite of society, vices in the actions of many social groups and in the presentation of high moral and ethical demands on society in the struggle for moral purity.
Thus, Sufism in the Ural-Volga region in the XII-XVIII centuries. finds fertile socio-historical soil and, growing, becomes a unique literary movement of a religious-secular nature. Sufi literature remained predominantly imitative. But it also influenced the formation of the ideological and aesthetic views of the people, where one can hear a protest against the social injustice of society and spiritual oppression.
Chapter Three“Sufi culture in Bashkortostan” is devoted to an analysis of the degree of influence of Sufism on the development of Bashkir literature and its features.
Sufism began to penetrate into the territory of Bashkortostan with the first Muslim missionaries - ascetics. A new round of development was achieved in later centuries - the 18th-19th centuries.
In the XVIII-XIX centuries. Great changes are taking place in the life of the Bashkir people. The introduction of a cantonal system of government in Bashkortostan, the transfer of the Bashkirs to the military class and the associated military campaigns, the maintenance of a large army led to the impoverishment of the people. The creation of the Spiritual Administration of Muslims on December 4, 1789, which zealously served Russian tsarism, caused discontent among the Bashkirs. “The strengthening of Sufism in literature was also facilitated by the very situation of the Bashkirs in the 19th century: the people were extremely ruined by the colonialists and local feudal lords.” “Sufi ideology and poetry reflecting this ideology were understandable and popular in such conditions and to the common people, the impoverished mass of people." The Sufi literature of Abelmanikh Kargaly (1784-1824), Hibatulla Salikhov (1794-1867), Shamsetdin Zaki (1825-1865), Gali Sokry (1826-1889), Habibullah Utaki, Mandy Kutush-Kypsaki (1763-1843) is gaining great popularity.
In the poems of A. Kargaly “Complaint”, “Munazhat”, Kh. Salikhov “Soul in the Body”, Sh. Zaki “Wake up”, “I am one of the disadvantaged people of God”, “People of passion”, “More needs to be written about this” one can hear the motives for affirming asceticism, pessimism, renunciation of material goods, fear for one’s sins before God, the fight against evil, and cleansing from the temptations of worldly existence. Their ascetic poems, complaints about the transitory nature of this world, loneliness in that world, the call for the need to prepare for the Day of Resurrection have much in common with traditional Sufism, its teaching of renunciation of earthly goods, removal from everything worldly.
The creativity of the Bashkir Sufi poets is characterized by motifs of love for God, brought to ecstasy, love suffering, longing of the soul, ecstatic delight, all-embracing passion, leading to spiritual merging with him. This mystical mood of A. Kargaly (“Muhammas”, “Latifa”), Sh. Zaki (“I am exhausted, I have no more patience”, “Bezg2 bu yar 2shn2 bulmay kalyr”, “D0shuar buldy b2nem h2lem”) are conveyed through the metaphors of wine and intoxication, nightingale and rose, moth and candle. The moon-faced face and black braids of the beloved reflect the inseparable divine qualities of mercy and anger, and the image of the braids with endless variations appears in the form of snares that captivate hearts in love, while the eyebrows are likened to bows that shoot arrows that mortally wound.
One can discern the pantheistic worldview characteristic of classical Sufism. Many of Sh. Zaki’s poems (“Arif”, “I am exhausted, I have no more patience”, “Either it will be or not”, “We need to study”, “I want to wake up”) are written as an appeal to God, where the lyrical hero, seeking the Truth, feels the greatness of God and - at the same time - that the beloved is hidden in his own heart. This allows him to realize the unity of being.
Thus, the work of Bashkir Sufi poets is characterized by all those properties and features that are characteristic of classical Sufi poetry. The imagery is drawn from the poetic heritage of Sufism and everyday life, everyday life, and natural phenomena. But asceticism, mysticism, pantheism in the works of Bashkir Sufi poets takes on a slightly different shade, where allegory and allegory develop into a bold criticism of social phenomena and protect the interests of ordinary people(A. Kargaly “Zhikhangir Khanu”, “Gubay Bayu”, “Haji Muhammat Bayu”, Kh. Salikhov “Dictator of Time”, Mandy Kutush-Kypsaki “At the Time of Dawn”).
“Until the beginning of the twentieth century, Bashkir poetry remained in the field of attraction of Sufi aesthetics. Having emerged from the mystical fog, the lyrics of modern times did not discard the impressive discoveries of tasawwuf poetry, but took the path of creative exploration and development of its best traditions.”
Still in the early stages creative activity G. Isanberdin, Y. Yumaev, S. Yakshygulova, M. Gafuri, Sh. Babich can hear the motives for affirming pessimism, loneliness in this world, alienation, the frailty of existence, the transitory nature of earthly joys. The motive of answering for one’s actions, characteristic of both the Koran and Sufi teaching, is also found in the Soviet period of Bashkir literature in the works of B. Ishemgulov “Letter from Sabir Mullah from the Other World” (1935), M. Karim “A Long, Long Childhood” (1978) .
The figurative system, motives, philosophical concept, visual means associated with the traditions of Sufi literature are reflected in modern Bashkir literature, but in a slightly different way.
In modern Bashkir poetry, echoes of the perception of the world and existence in the spirit of pantheism appear, which go back to Sufi literature and theory. The philosophical lyrics of T. Ganieva, T. Karamysheva, D. Talkhina, G. Kutueva and many others express a sense of the omnipresence of God, all-encompassing unity. In T. Karamysheva’s poem “Ay4a moron t0rt0p, 3yu t0b0nd2...” the lyrical hero feels that his soul contains the entire universe; he not only has cosmic consciousness, but experiences the experience of unity with everyone. Each stanza of the poem figuratively conveys the stages (Sufi stages of self-improvement, elevations can be from three to seven) of a person’s elevation from the world of phenomena to Divine unity. The lyrical poems “Love”, “Divinity” describe the Divine beauty that hides behind the veil in every particle, atom of existence.
Dina Talkhin in the poem “The firmament opened” expresses the feeling of the essential unity of God and man through the metaphors of a drop and the Universe, through images of an atom and a particle. If in Sufi literature the paired metaphors of a drop and a sea symbolize the Sufi and God, then in modern Bashkir poetry, acquiring a different shade, they illustrate a person seeking his essence in unity with the Universe.
G. Kutuev conveys this mood through the images of a drop and the sea, a star and the Universe, and the very name of the cycle of poems “Connection” is symbolic. It expresses the yearning of the lyrical hero’s soul for unity with the Universe, with God.
There are motives of predestination, fatalism, corruption, illusory nature of the world, consonant with the theory of Sufi teaching. Imagery to describe the frailty and transience of life is drawn from everyday life and natural phenomena. Illusiveness, decay human life compared to morning dew, the song of a nightingale, extinguished candles, the flash of lightning, smoke dissolving in the sky, the period of time from sunrise to sunset, etc. Describing this state and mood, R. Bikbaev, R. Yanbekov, Kh. Sagitov and others more often turn to the image of a guest, closely associated with the Sufi poetic tradition. In the beit of R. Bikbaev, the rubai of M. Yamaletdinov and K. Aralbay with the motives of predestination and the transience of the world, eternal problems of morality and ethics are raised, gravitating in style to the didactic, instructional literature of Sufism.
The history of the emergence of Sufism is closely connected with the phenomenon of dervishism. Islam penetrates into many areas exclusively in the Sufi form, preached by wandering and sedentary dervishes, whose abodes (zawiya, khanaka, ribat, tekke) turn into centers of missionary propaganda and religious life. These pictures from the life of Sufis are reflected in fiction and are associated with figurative system, storyline, philosophical concept of the work. However, these elements and details are episodic in nature. In K. Margan’s novel “Wings of the Golden Eagle,” which tells about the life, way of life, and history of the Bashkirs of the 16th century, images of dervishes perform the function of creating a general panorama of the era, its spirit. And in the image of Sheikh Akhmat al-Samarkandi, real features and spiritual quests of the famous dervish Ibrahim ibn Adham are embodied. Traditions associated with Islamic culture and Sufism give the epic canvas an ethnographic flavor and create specific features of the spiritual life of the Bashkirs.
In Akhiar Khakimov’s novels “The Ring of the Dumbra” and “Melody of the Steppe” the action takes place in the era of the Golden Horde, during the era of the Tatar-Mongol invasions. The situation of the masses becomes especially difficult during the period of aggressive wars. As a protest against spontaneous oppression, arbitrariness and violence of the ruling elite in the era of the Golden Horde, the sphere of influence of Sufism further expanded. The number of wandering dervishes, propagating asceticism and mystical sentiments among the oppressed masses, is increasing. This image of dervishes was created in the novel “The Ring of Dumbra” by A. Khakimov. Images of dervishes can be seen in several episodes of the novel, and not throughout the entire plot, and through various life collisions their moral character, life stereotypes, and spiritual values are created. In the novel we're talking about not about an individual dervish, but a generalized one was created artistic image phenomena of dervishism. The manner and style of narration, lexical means, colored by archaism, create the spirit, the atmosphere that reigns in this movement.
A. Khakimov’s novel “Melody of the Steppe” can be considered as a continuation of the novel “The Ring of the Dumbra”; they are united by ideological and thematic content, methods and techniques for creating a historical canvas, style and manner of narration. But unlike the first novel, in “Melody of the Steppe” the image of the dervish acquires specific features in the person of Sufi Abrar, a mentor who teaches the mystical practice of Sufis. In his philosophical views you can see a symbol of the unity of the people, which could become a support in the liberation political and cultural struggle with the consequences of a devastating invasion. Also in the image of the dervish Abrar one can see the origins of the emergence of poets who expound the theory of Sufi teachings and maintain a critical, rational approach to reality.
The traditions of Sufism associated with didactic and edifying literature are also reflected in the philosophical concept of the novel. Sufism manifests itself in different ways. He not only preaches asceticism, mysticism and pantheism, but in an allegorical form in the form of hikmets, hikayats, and intricate stories, he illuminates many problems of life and modernity, distinguished by deep philosophical and instructive content. The Qissa, told through the mouth of the Sufi mentor Abrar and in the spirit of the epic traditions of Sufi literature, characterizes the further fate of the main character, serves as an impetus for the development of events and acquires symbolic meaning. The entire philosophy embedded in this qissu serves as the connecting thread of the entire storyline of the novel.
Thus, dervishes in A. Khakimov’s novels take on the appearance of creators of spiritual values, moral and ethical qualities, and moral foundations of society.
In the hikayat of Z. Biisheva “Master and Apprentice,” the image of a dervish, with whom the talented creator of jugs is compared, serves as a literary detail for a more complete and profound disclosure of the character of the main character. This detail symbolizes the Master’s devotion to his work, dedication, desire for high ideals. But each of them is a slave to his own business. If for a dervish the object of worship is the world of divinity, then for the Master it is the world of art and creativity, which brings joy to people.
In the tragedy of M. Karim “In the night lunar eclipse” and in the rivayat “The Secret of the Mountain” the image of the dervish is presented from a completely different perspective. In the tragedy, Dervish, who declared himself the messenger of the Prophet, symbolizes the Devil himself, transformed into a religious figure who generates evil among people. The author, using the techniques of typification and generalization, managed to create a specific image of a representative of this movement, to identify its real features that create a threat to society and the spiritual life of people.
Islam, as a purely monotheistic religion, completely excludes the worship of any kind of shrines other than “one Allah”. Recognition of any other deity or shrine is considered polytheism. However, Islam made many concessions to various religious cults that existed on the Arabian Peninsula. This is expressed in the worship of the Black Stone - the Kaaba. An essential part of these beliefs were the remnants of the cult of “saints”, which received special development in connection with the increased role in ideology and public life Sufism and Sufi sheikhs. The burials of Sufi “saints” become objects of pilgrimage; they, like living sheikhs, are asked for “grace”, intercession and healing are sought. Avliya, or "saints", are endowed with the ability to perform miracles. There are many legends and traditions in Sufi literature that tell about the miracles of sheikhs and saints that happened to them. This long-standing tradition is perpetuated in written monuments literature among many Muslim peoples in the form of parables and legends, including among the Bashkirs.
Sufism among Muslims in the Volga-Ural region has a long history. Sufi sheikhs appeared here during the existence of the Bulgarian kingdom. In the XIV century. The appearance of a certain Khusainbek, a student of the outstanding Sufi Akhmat Yasawi, who spread Islam in the Ural Mountains, especially among the Bashkirs, was recorded. In the 19th century Khusainbek's grave near Ufa was still an object of pilgrimage. L.I. Klimovich, in his essay “Islam,” also mentions this grave and writes that in Bashkortostan in 1918, a special “Muslim regiment” of Kolchakites and nationalist counter-revolutionaries began their campaign against Soviet power by worshiping the grave of Avliy Khusainbek. Apart from some erroneous views, L.I. Klimovich managed to register important information. This suggests that at the beginning of the 20th century, when people made a great revolution in the history of the country, the cult of awliya, associated with the teachings of Sufism, its rites and rituals, was still closely connected with the spiritual life of the Muslims of Bashkortostan.
To this day, the grave of the last great sheikh of the Naqshbandiyya Sufi brotherhood in the Volga-Ural region, Zeinulla Rasulev, remains a place of pilgrimage and worship for many Sufis.
Currently, the most striking confirmation of the preservation of elements of Sufism in the practice of the Bashkirs are pilgrimages to the so-called places of “Bashkir saints”. There are especially many of them in the Davlekanovsky, Alsheevsky and Birsky districts. “To this day, during Muslim religious holidays, residents of surrounding villages come to the grave of Ishan Yagafar, buried in 1819 near the village of Timash.” In the same Davlekanovsky district, near the village of Karanai, on the slope of Mount Erektau, there is another burial place of the saint.
“In the Beloretsk region there is a saint’s grave on Mount Aush, according to local historian M. Churko (information dates back to the 30th of the 20th century), the Bashkirs went here to be treated for all diseases.” Thus, the veneration of the graves of Muslim saints is closely related to the traditions of Sufism.
Images of avliya are found to one degree or another in all works of Bashkir literature. The work of L. Yakshybaeva “Muzhair hazrat”, which continues the tradition hagiographic literature, tells about the life, activities and miracles of the great avliya of the Trans-Urals, Muzhair Hazrat. “Muzhair Hazrat”, in genre reminiscent of the lives of saints, consists of 12 chapters, each of which can be considered as a separate story based on the realities of life. The image of Muzair Hazrat embodies all the features characteristic of Sufi sheikhs and awliyas. He is endowed with the gift of a miracle worker (chapter “The Boy Who Made the Rain”), foresight (chapter “Shepherd Minlegul”), the ability of healing (chapter “Amanat Avliya”) and his grave becomes a place of pilgrimage and worship. The activities of Muzair Hazrat conquer deaf hearts, soften stubborn souls, free them from the oppression of greed, bringing them to a state of firm and indestructible faith.
The image of Muzair Hazrat embodies the features of Sufi missionaries who played a huge role in the Islamization of many peoples, including the Bashkirs, on the other hand, one can see in him the continuation of the tradition of the cult of saints.
The genres of folk art are closely related to the traditions of Sufism. It is in traditions and legends that information has reached us about the life and work of the great sheikh of the Volga-Ural region Zeinulla Rasulev and his friend Ishan Gataulla Abdelmalikov, about their abilities of miracles and healing. The rivayat “Bashkirs and Bulgars” speaks of the penetration of Islam to the Bashkirs as a result of the missionary activities of wandering dervishes. Their knowledge played a huge role in this traditional medicine, healing. Subsequently, these dervishes and their followers began to be revered by the Bashkirs as “saints.”
The tawarikh genre is of particular interest. “Tauarikh Bulgariya” (XVII) by Khisametdin Muslimi, “Tarikh Namai Bulgar” (XVIII) by T. Yalchygulov can rightfully be considered reference books and guides to the graves of the “avliya saints”.
Thus, the traditions associated with Sufism and Sufi literature still find echoes in the beliefs and spiritual life of the Bashkirs today.
In custody sums up research work, conclusions are drawn about the influence of Sufism on the development of Bashkir literature, poetics, philosophical concepts, moral and ethical foundations of society.
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Sharafutdinova Liliya Ragitovna
TRADITIONS OF SUFISM IN BASHKIR LITERATURE
dissertations for an academic degree
candidate of philological sciences
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The socio-economic and political processes that took place in the country starting from the second half of the 80s of the last century had a tangible impact on the development of the national verbal art. The departure from monoparty-bureaucratic ideological guidelines, the emergence of opportunities for the free expression of thoughts and feelings gave great scope for the natural evolution of the artistic and aesthetic consciousness of people. Poets and writers received the right to address any topics and problems in their work, including those prohibited during the years of the totalitarian regime.
In Bashkir literature of the post-Soviet era, historical themes occupy one of the central places. Many works highlight important, turning points from the past of Bashkiria and the Bashkir people, as well as the life and work of major historical figures. Such are the stories and novels “The Leather Box” and “The Sound of Dombra” by A. Khakimov, “Karasakal” and “Waiting for the End of the World” by B. Rafikov, “Bloody - 55”, “Field Marshal Pugacheva” and “The Qissa about Aldar Batyr” by G. .Khusainova and others. The events of the period of revolutions and civil war are also described from new, general humanistic positions. For example, we can name the novels and stories “The Rebellious Gyrfalcon” by R. Baimov, “The Flight of the Golden Eagle” by R. Sultangareev, “I Didn’t Find a Way of Salvation” by M. Yamaletdinov, as well as the drama “Fly, my winged tulpar!” F. Bulyakova, “Bashkirs from Kuzyan” by N. Asanbaev and others. The harsh truth of past events also began to be reflected in works about the Great Patriotic War (“Pardon” by M. Karim, “Milky Way” by A. Khakimov, “Falling Stars” by A. Magazov, etc.).
Another central theme in modern Bashkir literature is ecology. The problem of environmental protection worries not only prose writers, but also poets and playwrights. In many works, the problem of caring for nature is closely connected with the ecology of the soul, the moral principles of modern man. In this regard, the verses and poems “I’m thirsty - give me water!” are characteristic. R. Bikbaeva, “Hello, blue sky!” M. Yamaletdinova, “The Smell of Bread” and “The Time Has Come” by T. Yusupov, stories, novels and novels “Village Lawyers” by M. Karim, “The Alien” by D. Bulyakov, “Willows in the Bua Valleys” by Sh. Yanbaev, “The Eternal Forest ", "White Deer on a Blue Mountain" and "The Voice of a Wounded Man" by N. Musin, the plays "The Thirteenth Chairman" and "The Last Patriarch" by A. Abdullin, "On Foot Mahmut" by M. Karim, "The Cave" by G. Shafikov and others.
Current state The nation and its future were reflected in the novels “Tanya - Tansylu” by R. Kamal and “The Last Fight” by N. Musin. In the novel by R. Kamal, using the example of the fate of the Bashkir girl Tansylu, who, like many of her peers and friends, moved away from her national roots, found herself in an environment alien to her and tragically died, a subtle hint is made of what awaits the people in the event of loss national identity and traditions.
The science-fiction theme is touched upon in the stories “Heroes of Space” and “The Last Folly” by B. Rafikov, “I’ll Return at Dawn” and “Man is a Reflection” by F. Iskhakova. In these works, science fiction, which may one day turn into reality, is closely linked with reflections on the future of humanity and global processes on a universal scale.
On new stage Literature for children has also taken an evolutionary path. Developing the best achievements of the previous era, it was enriched with new works aimed at the moral and ethical education of the younger generation, taking into account its age characteristics. Most prose works for children are devoted to the theme of modernity. In the stories and novels of D. Bulyakov, R. Baybulatov, R. Sabitov, N. Gaitbaev and other authors, the central problem is a young person’s view of the changing world, his relationship to school, parents, socially useful work and the surrounding nature. Works of a science-fiction and adventure nature have become very popular among children, such as “The Extraterrestrial” by N. Gaitbaev, “Loulla” by B. Rafikov, “Sherlock Holmes is Crying” by G. Khisamov, “Descendants of Yaubasar” by F. Isyangulov and others. The poets S. Alibaev, F. Tugyzbaeva, G. Yunusova, G. Galieva, A. Igebaev delight the young reader with new poems and poems...
Certain changes are also taking place in the genre system of Bashkir literature. Once-forgotten genres of literature from the pre-Soviet period are being revived. Thus, in prose works are created in the genres of “qissa”, “khikayat” and “nasikhat”, in poetry - in the genres of “dastan” and “khikmat”. This is characteristic of the work of M. Karim, T. Ganieva, M. Yamaletdinov. G. Khusainov, with his book “Life” (Ufa, 1990), firmly established the genre of miniatures in Bashkir literature. His miniatures, written in the form of sketches about literature and art, are by their nature close to the essay genre in Western literature.
Modern Bashkir writers and, especially, poets more often began to use in their work traditional stylistic techniques, set expressions, comparisons and phrases, dating back to works of folk oral poetry (proverbs, sayings, etc.). This is observed in the poems and poems of the poets A. Utyabay, A. Yuldashbaev, R. Tulyak and others.
The intensity of the development of literature is also positively influenced by the expansion of publishing in the republic. Currently, along with the Kitap publishing house, book printing organizations Gilem, Bashkortostan and others can provide their services to writers. Since the beginning of the 90s, dozens of new newspapers and magazines in the Bashkir, Russian and Tatar languages began to be published in the republic. These are the magazines “Vatandash”, “Belskie Prostori”, “Shonkar”, “Tulpar”, “Ufa”, “Tamasha”, “Amanat”, “Akbuzat”, newspapers “Istoki”, “Omet”, “Yenshishme”, “Week”, “Azna”, “Atna”, “Ufimskie Vedomosti”, “Risalat” and others. New state and folk theaters that have appeared in cities and regional centers are opening up wide scope for the growth of drama and performing arts. Republican radio and television also actively promote fiction.
Thus, at the current stage of its development, Bashkir literature is going through a process of great changes and renewals. Interacting with other literatures of the peoples of Russia, it penetrates deeper and deeper into inner world contemporary, more assimilates universal human values, without losing his national image and artistic and aesthetic traditions.
Minigali Nadergulov
Bashkir literature. B.l. developed on the basis of bash. folklore, based on the traditions of ancient Turkic literature and oriental literature. The earliest letters. bash monuments literature belongs to Bulg. era (see Volga Bulgaria). Diverse and stable connections and interactions. ethnic groups, ter. and linguistic proximity of the Turkic language. peoples of the Ural-Volga region during the Volga Bulgarin period led to the formation of a single, so-called ancient Bulg. literature in the Turkic language. The literature of this period was not narrowly national; it was created through the efforts of the Bulgars and other Turkic languages. peoples that were part of the Volga Bulgaria. History knows the names of Bulg. writers Burkhanetdin Ibrahim al-Bulgari, Hamid ibn Idris and others. Traditions of historical-lit. prod. Yakuba ion Nugman "Tavarihi Bulgaria" ("History of Bulgaria") were continued in the 19th century. in the same name essays bash. writers G. Sokroy and T. Yalsygul. Classic An example of literature of the Bulgarian period is the work. Kul Gali “Kissa-i Yusuf” (13th century), which is the common property of the Bashkirs and Tatars. In bulg. period the tradition of poetic continues. gravestone inscriptions, originating from the Orkhon-Yenisei monuments (see Husseinbek keshene). Epitaphs give an idea of the uniqueness of literature and the peculiarities of the language of a particular period. Their department poetic The clichés later became an element of the traditional beginning of the bash. shezhere, ist. notes, baits. Literature of the Ural-Volga region until the 19th century. was handwritten and preim. anonymous. The author either simply did not indicate his name, or as a result of repeated rewriting, the authorship was lost, and the author. turned into a folk one. Texts usually have several versions and editions; events depicted and characters in production are often conditional, abstract in nature. On Wednesday. centuries from Arabic, Persian, Ind. lit-r in Turkic language. The literature of the Ural-Volga region was penetrated by plural plots. prod. (“Anecdotes of Khoja Nasretdin”, “Kalila and Dimna”, “Forty Viziers”, etc.) and their region arose. versions (“Al-qissa Buzyget”, “Bakhtiyarname”, etc.).
From the 2nd half. 13th century The Kipchak period of development of the B.L. begins. (see Kipchaks, Golden Horde). The literature of this time as a system was of a regional nature. Thus, “Gulistan Bit-Turki S. Sarai”, “Jumzhuma Sultan” by Khusem Katib, “Mukhabbatname” by Khorezmi, “Khosrov ve Shirin” by Qutb and other works created during this period and having a single lit. tongue and art system, became common monuments of the Bashkirs, Kazakhs, Tatars, Uzbeks and other Turkic languages. peoples In the Middle Ages. B.l. traditional prevailed. for east literature genres: ghazal, dastan, qasida, Qissa, hikayat. Dastan of Mahmud Gali “Nakhjel-faradiz” and other works. religious-didactic content contributed to the development of prose. genres. Kissa and dastans “Ali-batyr”, “Kisekbash kitaby”, “Kissa-i Sakam”, “Kissa-i Fattakhetdin” formed the basis of hagiographical works. liters.
The best examples of Sufi poetry (see Sufism) - prod. Middle Asian poets A. Yasawi, Bakyrgan, Muhammad Chelyabi, Allayar Sufi, etc. - contributed to the development of epic. traditions will end. the formation of certain popular genres, the design and consolidation of the stylistic originality of B.L. Sufi motifs in the 15th–17th centuries. found vivid embodiment in the TV of the poets Ummi Kamala, Mavli Kuluya and others in the 18th-19th centuries. - G. Usman, Sh. Zaki, A. Kargaly, M. Kutusha-Kypsaki, H. S. Salikhov, G. Sokroya, T. Yalsygul and others.
During the era of the Golden Horde, many Turks. scientists and writers were forced to leave their homeland and continue their activities in other countries. Information about the bash has been preserved. poets Sanjar Gilmetdin al-Bashkordi and Nasretdin an-Nasyri, who lived in Egypt.
Turkoyaz. literature, which existed in the Urals and Volga region in the 11th - 16th centuries, did not have strict national. borders. Within the region.. systems differentiation bash. national literature begins in the 16th century: elements unique to Bash appear. literature national themes, a close connection is established with folklore. An intermediate type of creativity between literature and folklore—oral literature—is developing intensively.
The annexation of Bashkortostan to Russia was a turning point in the development of the spiritual culture of the Bashkirs. The consolidation of the people has intensified, and a broad prospect for close communication and creativity has opened up. interaction with progressive Russian. culture. In B.l. along with the general region. signs of national and territorial-geographical themes associated with the Urals, with the life and way of life of the Bashkirs, new genres arise, poetic. forms unique to bash. poetry. Among the handwritten works. shezheres occupy a special place, in which the chronicle of the clan and genealogy are closely intertwined with the presentation of history. events, stories and legends. “Aile yryuy shezherekhe”, “Karagai-kypsak yryuy shezherekhe”, “Usergan yryuy shezherekhe”, “Yurmaty yryuy shezherekhe” were written in the dastan genre; in the genre of tawarikh - “Tavarikh bashkort”, “Chingizname”.
Bashkir uprisings of the 17th–18th centuries. activated people journalism and dem. direction in literature. That means the most. production, reflecting the social and political. situation and revealing the reasons that led to the restoration - a letter from Batyrsha to Empress Elizabeth Petrovna (see “Batyrgianin Batshaga Khaty”). Significant for B.l. period Peasant War 1773-75 is the TV of Salavat Yulaev, which embodies the best traditions of oral and written language. bash. poetry. Discovery in the 17th–18th centuries. madrassas in Bashkortostan, teaching in them Arabic and the Persian language contributed to strengthening ties with the East. lit-roy. The influence of TV channels Navoi, Nizami, Saadi, Ferdowsi, Hafiz is increasing; The genres of ghazal, masnavi, hikmet, etc. are developing. The canonized verse of aruz predominates in poetry. In 1812, the book “Kuz-Kurpyach, a Bashkir story written in the Bashkir language by one Kuraich and translated into Russian in the valleys of the Riphean Mountains, 1809”, written down by T.S. Belyaev, was published in Kazan. Presumably, he also recorded another monument bash. literature - “Aldar menen Zukhra”.
In the 19th century The development of literature in the spirit of modern times was facilitated by the activities of reformers A.A. Divaev, Kh. Zhdanov, Z.Kh. Rasulev and others. In the 2nd half. 19th century educational literature is developing. In its origin and formation it means. The role was played by the teachers of the Neplyuevsky Cadet Corps M.M.Biksurin, M.Ivanov, S.B.Kuklyashev, who in their creative work. and scientific-pedagogical activities were focused on progressive Russian. culture and education. Many bash. Enlightenment writers were educated in Russian. uch. institutions or new method madrassas (see Jadidism). Kr. Akmulla and M.I. Umetbaev became representatives of the enlighten movement in Bashkortostan. Addressing in their production. to social topics, poets-educators saw the solution to the contradictions of society in the dissemination of knowledge, and pinned their hopes on educated people. At the end of the 19th century. The formation of the bash begins. dramaturgy, its genre forms are designated and structural features. In B.l. last quarter 19th century The features are gradually strengthened and enlightened. realism. Means. prose undergoes evolution. Under the influence of Russian and zap. lit. traditions, genres such as novella and short story begin to develop. Along with the book. “Kissa-i Zhamshid” (1889), “Qissa-i Khikmet” (1897) by Sh. Kashafetdin and collection. hikayats “Belek” (1872, compiled by V.V. Radlov), written in traditional. eastern genres, appear realistic. prod. - stories “Salima” (1899; “Salima”) and “Asma” (1903; “Asma”) by R.F. Fakhretdinov, stories and stories by Z. Khadi.
At the beginning of the 20th century. in B.L. a critical method begins to take shape. realism. The fragility of social life is becoming more and more obvious. foundations; not only the fate of the individual, but also the fate of the whole society is recognized as an acute problem that requires change. research. Gas on the pages. "Ural" and satirical. and. “Karchyga”, “Chukech” are published rev. poem. and journalistic works. During this period, Sh. Babich, F.V. Valiev, M. Gafuri, G. Gumersky, A. S. Isyanberdin, B. G. Mirzanov, G. Kh. Niyazbaev, G. Rafiki, H. Sagdi, F. .M. Suleymanov, A.Z. Tangatarov, F.K. Tuykin, Ya.G. Yumaev, S.S. Yakshigulov. In his productions they turn to history. the past of the Bashkir people, thinking about their misfortunes. situation, call on the people to actively fight for their rights.
After October revolution in B.L. two ideological ideas came forward. directions: national-patriotic, defending the ideas of bash. autonomy, self-sufficient. development of national culture and literature (Sh. Babich, Kh. G. Gabitov, Suleymanov, etc.), and revolutionary democratic, sharing the views of the Bolsheviks (S. Kudagi, A. M. Tagirov, Sh. A. Khudayberdin, D. Yulty, etc. .). During these years, the youth lit. organization of national-patriotic direction "Tulkyn" led by Sh. Babich, which collapsed in 1920 after the dispersal of the Bashkir government.
During the Civil War lit. forces united around the Bolshevik gas. “Bashkortostan Heberdere”, “Kyzyl Kurai”, “Kyҙyl Yul (“Red Path”), “Kyzyl Batyr”, etc., which published works. M. Gafuri, Tagirova, D. Yulty, young poets G. Gumer, B. Ishemgul, Yarly Karim, Shamun Fidai and others. In their works. roars prevailed. pathos, motives for building a new life, heroic. subject. Such genres as fable, pamphlet, song, poetic have become widespread. appeals, propaganda poems, epigrams. In prose, small genres were developed: sketches, narrations, essays, stories that were for the most part journalistic character.
The formation of dramaturgy was associated with the creation of con. 1919 Bashkir Drama Theatre. His repertoire included plays by M.A. Burangulov, Kh.K. Ibragimov, Niyazbaev, D. Yulty. The drama “Karagol” (1920; “Karagul”) by D. Yulty and the comedy “Bashmagym” by Ibragimov gained particular popularity. Social changes in the life of the country, thoughts and feelings of the proletarian masses are reflected in the book. “Komartgylarym” (1924; “My Memos”) D. Yultyya, “Kyҙyl tәlgәshtar” (1925; “Red Clusters”) M. Gafuri, “Esh syuagy” (1926; “Dawn of Labor”) G. Yanabi, “Kaban yyrҙary "(1926; "Songs of the Plow") S. Kudash. Literature began to be published. and. "Belem." “Yany yul” (1923; “ New way"), "Yanylyk" (1927; "News"), "Sasan" (1927; "Sesen"), "October" (see "Agidel"), where works were published. S.Aguigia, G.Amantaya, V.Valida, A.Karnaya, G.Khairi. Development and formation of B.l. in the 20s took place in acute ideological and aesthetic. struggle. Differences arose. creative trends, styles: abstraction and rhetoric in poetry, naturalism in prose, expressionism and constructivism in drama. The stories “Kara yөҙҙәr” (1927; in Russian translation “Disgraced, 1938”; in subsequent editions “Black Faces”), “Tormosh Bagystars” (1928; “Steps of Life”) by M. Gafuri were published; “Berense kondar” (1929; “The first days”), “Tashҡyn darya tarmagynda” (1928; “At the turns of a stormy river”) by Tagirov, depicting the difficult past of the Bashkir people and their struggle for a bright future. Stories, nesers, stories by I. Nasyri “Goldar” (1927; “Guldar”), “Һөжүм” (1929; “Attack”), etc. were created in a romantic vein. The novel “Borolosh” (1928; in Russian translation “Turn” ", 1976) G. Khairy tells about the struggle and life of the Bashkir people during the revolution. Bash on stage. t-drama, new plays are staged: “Kyҙyl yondoҙ” (1925; “Red Star”) by M. Gafuri, “Kuseү osoronda” (1926; “In the transition period”) by Tagirova, Tirmandә” (1926; “At the Mill”) D .Yultyya. The first pisats appear. org-tions. In 1923, an association of poets of Bashkortostan was created in Ufa. A creative worker worked at the Bureau of Journalists of the Republic. writers section. In 1928, these two organizations merged into the Bashkir Association of Proletarian Writers. In 1934, the Writers' Union of the BASSR was created on the basis of the BAPP.
1st half 30s became a period of rise of B.L. During these years, the genres of poetry, prose, and drama developed intensively. The writers who made their mark back in the 20s continue to work fruitfully: M. Gafuri, G. A. Davletshin, B. Ishemgul, S. Kudash, Tagirov, G. Khairi, D. Yulty, T. Yanabi. A new generation of wordsmiths is coming to literature: Kh.L. Davletshina, K. Dayan, M. Karim, S. Kulibay, K. Mergen, M. Kharis. However, under the conditions of the strengthening of the totalitarian regime, writers were deprived of freedom of creativity and the right to their own. opinion. Socialist realism was implanted in a directive manner. The class struggle, the glorification of new life, the glorification of the party and its leaders formed the basis of many works. Basic The theme of poetry of this time is social. reconstruction of life: “Aihylyu Tractors” (1933; “Tractor Driver Aikhylu”) by B. Ishemgula, “Ishembay” (1934; “Ishimbay”) by G. Gumera, “As yyr” (1935; “Three Songs”) by G. Salyama, “ Er" (1936; "Earth") by B. Bikbay, "Yәmle Aғiҙel buyҙary" (1940; "The Beautiful Valleys of Agidel") by R. Nigmati, "Auyl" (1940; "In the Native Village") by H. Karim and other playwrights , depicting the victory of the new over the old, they link it with the struggle for spiritual morals. improvement of people: dramas “Kakmar” (1932; “Khakmar”), “Dulyҡ һәm mөkhәbbәt” (1939; “Friendship and Love”), “Yalan ҡyҙy” (1939; “Daughter of the Steppe”) by S.M. Miftakhova; plays by Tagirov, N.K. Karipov and others. The novel develops intensively in prose. The action of the novels of the 30s. takes place during the First World War and Civil War. war. Ch. the principle of image formation is the image from the standpoint of class, communist. partisanship with an emphasized “vitality”, and often documentary character of the image. Novels “Kaldattar” (1933; in Russian translation “Soldiers”, 1934), “Kyҙyl guardsman” (1935; in Russian translation “Red Guards”, 1935), “Kyҙyl armyetstar” (1936; in Russian translation “ Red Army soldiers", 1961) Tagirova; “Kan” (1934; in Russian translation “Blood”, 1934) D. Yultyya; “Kүҙәy” (1934; in Russian translation “Kudey”, 1965) by I. Nasyri are characterized by epic. the scale of the plot and the display of the dynamics of character development. In production The image of a hero of the time, a fighter for social life, clearly emerges. justice. However, highlighting only social-class accents impoverished the art. images, replaced the special, the national, leading to an increase in the tendency of vulgar sociologism, one-sidedness in reflecting reality.
Con. 30's - 40's became in B.L., as well as in society as a whole, a period of loss. In 1937-38 pl. writers (G. Amantai, Davletshin, B. Ishemgul, I. Nasyri, Tagirov, D. Yulty, T. Yanabi, etc.) were subjected to political repression. From the very first days of the Great Patriotic War, many. writers went to the front. M.G.Abdullin, Karipov, A.Karnai, Kh.Kunakbay, Miftakhov, B.Mukamai, M.Kham, M.Kharis and others died the death of the brave. The war radically changed the themes of the works. The heroism of soldiers at the front, selflessness. work in the home front, love for the Motherland is the main thing. themes of literature of those years. Military prose. years is represented by small and medium. genre forms: story, essay, novella. The image of the fighting people becomes central: “Atly Ilmyrkha” (“Horseman of Ilmurza”) by S. Agish; “Bayguzha Sayetgalin” (“Bayguzha Saitgalin”) by K. Dayan; “Political instructor Lavrov”, “Nastya” by V. Dima; “Il sakyra” (“The Motherland is Calling”), “Mokhәbbәtkә үlem yuҡ” (“Love is immortal”), “Sergeant Galin” by H. Karim; “Fascist - keshe tugel” (“Fascist is not a person”), “Doshmanga birelmәҫkә” (“Don’t surrender to the enemy”; all - 1942), “Zobay utagolov” (1943; “Zubay Utyagulov”) by D.G. Kiekbaeva; “Kaldat” (1944; “Soldier”) by A. Chanysh. Essays and stories about the war were combined into cycles and collections: “Don Dalalarynda” (1942; in Russian translation “In the steppes of the Don”, 1942) by S. Kudash; “On the Front” (1943; “For the Front”) by S. Agish; “Bashgort tar” (1943; “Bashkirs”), “Egettar” (1944; “Dzhigits”) by K. Mergen. The verse form is becoming popular. messages: collective poem “Fronttagy Bashkort egettәrenә Bashkort Khalgynan Khat” (1943; “Letter of the Bashkir people to the Bashkir front-line horsemen”); poems Ulter, ulym, fascists! (1942; “Kill, my son, a fascist!”), “Kinen kalishenden Khattars” (1943; “Letters from your bride”) R. Nigmati, verse. “Bashҡort khalҡyna yauap khat” (1943; “Response letter to the Bashkir people”) by M. Karim and others. The dramaturgy of this period continued the traditions of the 20-30s. as in the image of the heroic. of the past people in the plays “Kaһym tүrә” (1942; “Kakhym-turya, or 1812”) by B. Bikbai, “Iҙеүкәй menәn Moraҙym” (1943; “Idukai and Muradym”) by Burangulov, and in the reflection of modernity - “Urman Shaulai "(1942; “The Forest is Noisy”) by R. Nigmati, “Ber ata Balalary” (1944; “Children of the Same Family”) by B. Bikbai, “Yau” (1944; “Battle”) by K. Mergen and V.S. Kedrov and etc.
In the 50s a new stage in the development of Bashkir literature begins. The ranks of writers are replenished by front-line soldiers I.A. Abdullin, Sh. They bring to literature not only lines scorched by war, but also a new worldview. Lyric. the hero has grown immeasurably, he experiences great patriotism. feeling and at the same time feels his responsibility to all humanity. During these years, a whole galaxy of young poets appeared in literature: R.Ya.Garipov, A.Kh.Igebaev, M.N.Karimov, R.A.Safin and others. Development of industry in the republic. contributed to the creation of production. about the working class. On the stage of the BATD the plays “Sәgiҙә” (1948; “Sagida”) by Bikchentaev and R.H. Khairullin, “Tәran kulysh” (1949; “Deep Breath”) by I.A. Abdullin, “Kala irtәһe” (1950; “Morning”) are staged city") K. Mergen. This theme is revealed in the novels “Naryshtau itagendә” (1951; in Russian translation “On the slopes of Naryshtau”, 1954) by K. Mergen, “Swans remain in the Urals” (1954; in the Russian translation “Karasәi Yuly”, 1957) Bikchentaeva, “Aҡselen tashҡanda” (1955; “When Akselyan spills”) by B. Bikbay. Works appear in which an attempt is made to comprehend the events of the revolution. and post-rev. time: novels “Nige” (1951; in Russian translation “Foundation”, 1952) S. Agish about drama. the fate of man of the earth; “Berense Agymdar” (1952; in Russian translation “First Steps”, 1975) by A. Vali about the first generation after the revolution. bash. intelligentsia. The story “Kyҙҙar” (1954; in Russian translation “Girls”, 1957) by Islamov; “Tulgyn өҫtonөndage kala” (1954; in Russian translation “Town on the Waves”, 1955) G. Gumera; plays “Tui dauam itә” (1947; “The wedding continues”) by M. Karim, “Beҙ ayyrylyshmabyk” (1949; “We will not part”), “Bazhalar” (1954; “In-laws”) by I.A. Abdullin, “Yҙғy yyr" (1961; "Spring Song") N. Najmi paints the post-war. reality with optimism positions. Means. phenomenon in B.L. was the publication of the novel “Yrғyҙ” (1957; in Russian translation “Irgiz”, 1961) by Davletshina, written in difficult conditions of persecution and persecution. A new stage in the development of B.l. in the 60s became the first publication in B.L. trilogy “Yagtyga” (1958-69; “Towards the Light”) by Z.A. Biisheva, who created the expression. pictures of the life of the Bashkir people at the turn of the era and the image of a woman in the new world. A rethinking of the phenomena of reality was observed during this period in M. Karim’s TV. In the dramas “Yangyҙ kayyn” (1950; “Lonely Birch”) and “Yyrlanmagan Yyr” (1961; “The Unsung Song”) the author raises current societies. problems and related moral issues. personality degradation. The desire to deepen psychol. analysis, attention to moral problems are reflected in the work. “Yomart er” (1959; “Generous Land”) by Islamov, “Pogonһyҙ һaldattar” (1965; in Russian translation “Soldiers without shoulder straps”, 1969) by Kh. Gilyazhev, “Zәңgәr satyr” (1976; “Blue Tent”) Sh.M. Yanbaeva, “Altynbikә” (1960; “Altynbika”) and “Aҡoshom minen” (1964; “My Swan”) F.A. Isangulova, “Auylym Yuly” (1963; “The Way of My Village”) and “ Er biҙәge" (1967; "Beauty of the Earth") by N.S. Musina, "Keyәү" (1968; "Son-in-law") and "Steamboat Tauyshtary" (1976; "Steamboat Hooters") by R.G.N Nizamova, "Tan Nurҙary "(1971; "Rays of Dawn") by Z.A. Sultanov, "Golbikә" (1973; "Gulbika") and "Yaygor" (1975; "Rainbow") by A. Hakim, "Galdy uttary gyn" (1981; "Remained only lights") by F.A. Asyanova; as well as on TV by N. Gaitbay, T. Kh. transl. “May Rain”, 1960), “Golyemesh sәskәһe” (1963; “Rose Hip Flower”) A. Vali; “Ozhmakh vәgәҙә itmәayem” (1963; in Russian translation “I do not promise you paradise”, 1967) by Bikchentaev; “Oҙәrem yul keshelere” (1970; in Russian translation “People of Long Roads”, 1977) Musina; “Borkөttar oya tashlamai” (1972; in Russian translation “Eagles do not leave their nests”, 1976) by Y.N. Valeeva; “Synygyu Yildars” (1972; in Russian translation “Years of Maturity”, 1979) by A.A. Bayramov; “Kabantuy” (1980; “Sabantuy”) by T.B. Sagitova; “Beүә buyҡayҙary һary tal” (1987; “Willows on the Buy River”) by Yanbaev.
In the literature of the 60-80s. along with tradition. The themes also reflect environmental problems, achievements of science and technology. The circle of heroes is enriched, while the most. the orientation towards a socially active hero, towards deepening was clearly manifested. revealing the character of a contemporary. Genre forms are becoming more diverse. In 1970 the first one was published in B.L. satirical novel “Dan Turtagy” (in Russian translation “Bubbles of Glory”, 1975) by A.Sh. Girfanov. The play “Ai totolgan tonde” by M. Karim was the first to appear. tragedy. Together with the tragedies “Salauat. He is aralash ete tosh" (1971; in Russian translation: "Salavat. Seven dreams through reality", 1983) and "Tashlama utty, Prometheus!" (1975; in Russian translation “Don’t Throw Fire, Prometheus!”, 1979) it formed a kind of trilogy, united. the desire to reveal the meaning of man. being. Depth psychological analysis The dramas “Raisa” (1957; “Raisa”), “Kyҙyl Pasha” (1982; in Russian translation “Red Pasha”, 1987) by N. Asanbaev are distinguished; “Asәayemden sal sastare” (1960; in Russian translation “The gray hair of my mother”, 1967), “Asәlәr kөtәlәr uldaryn” (1975; “Mothers are waiting for sons”) by A.M. Mirzagitov; “Yorak menan shayarmaikar” (1962; “They don’t joke with the heart”), “Tile yashlek” (1972; in Russian translation “Mischievous Youth”, 1972) by I.A. Abdullin; “Yanbikә” (1973; “Yanbika”) by Safin; “Un Osonso Chairman” (1979; in Russian translation “The Thirteenth Chairman”, 1981) by A.H. Abdullin.
A new attitude was introduced into the literature of the 1970s. prod. S.Alibaya, K.Aralbay, Asylguzhi, V.I.Akhmadieva, A.Akhmet-Khuzhi, R.T.Bikbaeva, F.M.Bulyakova, M.H.Idelbaeva, R.Kamala, T.A.Kilmukhametova, I.L.Kinyabulatova, R.F.Miftakhova, Kh.Nazar, R.S.Nazarov, B.Nugumanov, R.Tuigun, R.Shakur, T.Yu.Yusupov and others. The TV of the poetess T is imbued with subtle lyricism Ganieva, T. Karamysh, K.K. Kinyabulatova, F.A. Rakhimgulova, A.A. Tagirova, F.Kh. Tuguzbaeva, R.M. Khisametdinova, G. Yunusova, A.Sh. Yagafarova.
The development of prose was marked by the emergence of funds. productions recreating the life of the Bashkir people in the years of October. revolutions. The appearance of the novels “Bortөklәp yiyyla altyn” (1966; in Russian translation “Gold is collected in grains”, 1970), “Aҡman-toҡman” (1971: in Russian translation “Akman--tokman”, 1973), “Yeshenle yay "(1975; in Russian translation "Thunderstorm Summer", 1976) by Y.Kh.Khammatova; “Arysh bashagy” (1970; in Russian translation “Rye Ear”, 1977), “Ir-egetkәi menәn at bashy” (1973; in Russian translation “Faithful horse and good fellow”, 1977), “Һәыкәләр terelәr On" (1975; in Russian translation "Monuments for the Living", 1985) by Isangulov marked the strengthening in B.L. trilogy forms. History and biographies appear. novels “Bakhtizin” (1974; in Russian translation “Bakhtizin”, 1982) by V.M. Iskhakova, “Kinyә” (1977; in Russian translation “Kinzya”, 1982) by G.G. Ibragimova, “Ale yashәaybek ikәn" (1977; in Russian translation "We will still live." 1981) Sh. Bikkula, "Tyugan kon" (1978; in Russian translation "Birthday", 1979) Khammatova, "Sangasang itә Irandek borkөto" ( 1978; in Russian translation “The Screaming of an Eagle from Irendyk”) by A. Chanysh, “Kosh Yulynan Baram” (1983; in Russian translation “I’m Walking along the Milky Way”, 1987) by I.A. Abdullin. Military The theme is developed by collections of novels and short stories “Beҙ dingeҙgә kitәbeҙ” (1973; “We are going to sea”), “Aҡsarlaҡtar һyuga toshә” (1975; “Seagulls descend on the water”) by A.S. Gareev and “Shongar Yuly” (1975; “The Way of the Falcon”), “Kaualarҙa yondoҙ” (1977; “Stars in the Sky”) by A.Sh. Magazov. There is a process of returning the national and east traditions, the desire to rethink the poetics of folklore. Such are the dramas “Tylsymly Kurai” (1957; in Russian translation “Magic Kurai”, 1978) and “Zolkhizә” (1981; “Zulkhiza”) by Biisheva; the poems “Yilmayu” (1960; “Smile”), “Ser” (1961; “The Secret”) and the story “Oҙonoҙaҡ bala sak” (1976; in Russian translation “Long, Long Childhood”, 1977) by M. Karim, in which it was reflected qualitatively new principle synthesis of dec. styles.
In the 80s in B.L. All genres are actively developing. Dozens of collections of stories have been published: “Shishma” (1980; “Stream”) by M.S. Burakaeva, “Monar” (1980; “Marevo”) by R.B. Gabdrakhmanova, “Yakty kunel” (1981; “Bright Soul”) A.H. Vakhitova, “Bikle Khazina” (1982; “Hidden Treasure”) R.N. Baimova, “Yaҙmyshҡa үҙң ңужа” (1982; “Master of Your Fate”) M.T. Gilyazeva, “In auyr fan” ( 1983; “Difficult Science”) by R.F. Baybulatova, “Beҙenen duҫ” (1984; “Our Friend”) by R.G. Sultangareeva, “Yeshәreү sere” (1984; “The Secret of Youth”) by Girfanova, “Batyrlyҡ dәrese” ( 1984; “A Lesson of Courage”) by R.Z. Nizamova, “Katynga bulak” (1985; “Gift to the Wife”) by R.N. huts" (1987; "Congratulatory letter") by M.Kh. Sadykova, "Yalgan һuҡmaҡ" (1987; "The False Path") by Karimova, "Kugarsen Yyry" (1987; "Pigeon Song") by Garipova, "Borolmala" (1988; “At the turn”) Gareev, etc. Variety of art forms of mastering reality led to the creation of fictional series: G. G. Ibragimov’s dilogy, including the novels “Umyrzaya” (1968; in Russian translation “Snowdrop”, 1973) and “Ai biten yyuganda” (1972; “New Moon”) , covers a wide range of time. the interval from collectivization to the present day; Musin’s trilogy, including the novels “Zңgәrtauҙa - aҡ bolan” (1980; “White deer on Sin-mountain”), “Yaraly keshe tauyshy” (1985; “The cry of the wounded”), “Tang menәn syҡ yuldarga” (1988; “Come out to way at dawn"), raises moral and ecological problems modern society. The epic novels “Maskәuly” (1968; in Russian translation “Moscow Road”, 1974) by Islamov, “Koyash Bayimai ka Bayimai” (1995; “The Sun Still Doesn’t Set”) by I.A. Abdullina, the story “Yarlykau” are published "(1986; in Russian translation "Pardon", 1987) by M. Karim, telling about the tragic. pages of the Great Patriotic War. There is an upsurge in the development of national literary studies and literary criticism. For the first time, the multi-volume collections “Bashkort Halyk Izhady” and “Bashkir folk art”, collective work “Bashҡort әҙәБіе таріхы” (in 6 volumes, 1990-96; “History of Bashkir literature”); monographs by V.K. Amirov, R. B. Akhmadiev, Baimov, Bikbaev, Vakhitov, M. F. Gainullin, Kilmukhametov, M. Kh. Mingazhitdinov, Z. A. Nurgalin on prose, poetry and drama. Issues of literary theory are being developed (K.A. Akhmedyanov), literature is being studied. heritage of the Bashkir people (S.A. Galin, G.S. Kunafin, A.I. Kharisov, G.B. Khusainov, etc.). In the 80-90s. in B.L. there is further improvement genre forms and styles. The process of becoming a scientific-artist continues. worldview, liberation from dogmatic. installations, ideological cliches characteristic of B.L. owls period. Published sources. novels “Borkot Ropes” (1981; in Russian translation “Berkut Wing”, 1987) by K. Mergen, “Kauyr Kumta” (1982; “Leather Box”), “Dumbyra Sons” (1986; in Russian translation “ Cry of Dumbra”, 1988) A. Hakim; “Tonyak Amurs” (in 2 books, 1983-85; in Russian translation “Northern Cupids”, 1987) by Khammatova; “Karaһakal” (1989; “Karasakal”), “Akhyryzaman kөtkәndә” (1993; “Waiting for the end of the world”) by B.Z. Rafikova; “Kanly ille bish” (1993; “Bloody 55th”) by Khusainov; “Shunda yata batyr һөyәge” (2000; “Here lie the remains of a batyr”) Musin. Novels “Syuaҡ kөndәr” (1986; “Fine Days”) by Isangulov, “Beҙ yәshәgan er” (1988; “The Land We Live on”) by Sultangareev, “Kilmeshak” (1988; “Alien”) by A.M. Bulyakov, “Yauap birer kon” (1989; “Reckoning”) by Baimova, “Erem, keshelerem” (1996; “My Land, My People”) by Sultanova, “Boyrәkәi” (1997; “Burenka”) by Garipova reflect the negative aspects of collectivization, the problems of barbaric attitudes towards natural resources, moral degradation of the individual. In the wake of the collapse of the USSR and the revival of the national movement, novels were published, in which the events of Oct. revolutions, Civil. war, 1930s, consequences of the cult of personality: “Өөөрмә” (1992; “Hurricane”), “Dauyldan ҡotolou yҡ” (1994; “There is no salvation from the storm”), “Karuan” (1997; “Caravan”) Khakimova ; “Tamyp ta gyna kala kandary” (1993; “Blood drips in drops”), “Taftilәү” (1996; “Taftilyau”) by G.A. Khisamova; “Kitmәҫ өson kildem” (1994; “I came to stay”) by M.A. Khaidarova; “Sybar Shongar” (1997; “Flight of the Falcon”) by Baimova et al.
Literary con. 90s - early 2000s develops new topics, using different forms and methods of presenting material, strives for a deep reflection of reality, for the analysis of acute life conflicts. Relevant are the problems of human personality development, friendship between peoples, the relationship between the fate of man and the fate of the people, and increasing civic responsibility. In B.l. a group of poets entered, raising acute social themes in openly journalistic writing. form, conducting an active search in the field of verse form (expansion of vocabulary, variety of rhythms, enrichment of rhymes). Original forms and techniques of versification are characteristic of the TV of G. G. Ishkinin, R. Tulyak, A. Utyabay, A. R. Yuldashbaev. Increasing epic beginning, increased interest in social. The world is distinguished by the poetry of S.N.Abuzarov, D.M.Sharafetdinov, G.G.Zaripov, R.KulDavlet, Kh.H.Yuldashev, R.Yanbek. Attention to internal lyrical world hero, a special trusting intonation is inherent in the television of the poets T.S. Davletberdina, Yu.S. Ilyasova, T. Iskanderiya, G.M. Kutueva, Z.M. Khannanova. In prose, contemporary themes are predominant. in psychology and moral aspects - reveal F.F. Akbulatova, G.M. Gizzatullina, Kh.N. Tapakov, R.R. Urazgulov. Children's literature is developing. Modern B.l. as one of the types of societies. consciousness and spiritual culture continues thin. chronicle of the life of the Bashkir people.
Full text of the dissertation abstract on the topic ", 1905-1920."
As a manuscript
Kutlyakhmetov Amir Misbakhovich
FEATURES OF THE DEVELOPMENT OF BASHKIR LITERATURE AT THE BEGINNING OF THE XX CENTURY
Specialty - 01/10/02 - literature of the peoples of the Russian Federation (Bashkir literature)
dissertation for the degree of candidate of philological sciences
The work was carried out at the Department of Bashkir Literature and Folklore of the Bashkir State University
Scientific supervisor - Doctor of Philology, Professor, Corresponding Member. Academy of Sciences of the Republic of Belarus Baimov R. N.
Official opponents: Doctor of Philology, Professor,
Honorary Member of the Academy of Sciences of the Republic of Belarus Nurgalin Z.A.
Leading organization - Institute of History, Language and Literature UC RAS
meeting of the Dissertation Council D-212.013.06 for the defense of dissertations for the degree of Doctor of Philology at the Bashkir State University at the address: 450074, Ufa, st. Frunze, 32 (main building).
The dissertation can be found in the scientific library of the Bashkir State University.
Candidate of Philological Sciences, Associate Professor Gareeva G.N.
Defense will take place 2004
Scientific Secretary of the Dissertation Council Doctor of Philology, Professor
Fedorov A.A.
general description of work
Today, in the context of a rethinking of universal human values, the country is experiencing great changes. Democratic changes have affected all spheres of human activity. In the conditions of the 21st century, we are forced to look at many phenomena and canons that were considered ideologically unshakable in a different capacity, in a different aspect. Today's reality obliges us not to repeat the mistakes of the past, and to carefully approach the revision of spiritual values. Because until quite recently, many aspects of human relationships were viewed through the prism of ideological dogmas. This is especially relevant in relation to the history of the development of national cultures and literatures of small peoples of the Russian Federation.
With the advent of activating conditions involving national languages and literatures in the complex process of relationships of that time, when enormous opportunities opened up for the rise of the artistic expression of many small peoples, Bashkir literature received a powerful impetus at the beginning of the 20th century.
The relevance of research. The topic “Features of the development of Bashkir literature at the beginning of the 20th century” is becoming relevant today not only due to insufficient study of this period, but also due to the opportunities that have opened up at the present time to analyze the entire literary layer of that time in the context of a general revision of the spiritual heritage of the Bashkir people. Our topic makes it possible to consider the development of Bashkir literature in qualitatively different conditions. For it was precisely at the beginning of the 20th century that Bashkir literature developed at a pace of accelerated development, incorporating many aspects of the social life of the nation. The complexity and diversity of ideological and artistic movements, as well as the presentational functions of literature, were prohibited in the recent past. The lack of knowledge of artistic thought of the early 20th century is also characterized by the fact that it was studied within the framework of the canonized “socialist method”, as a result of which the “non-standard aspects” of literary
activities, and sometimes all the activities of the writer himself, were beyond the sight of literary scholars.
The degree of development of the problem. In the current reality, literary science is freed from various ideological attitudes and dogmas. However, this does not mean that we should completely abandon the theoretical and methodological developments of Soviet literary criticism. On the contrary, relying on the mistakes of the past, we must take advantage of all the best in the research of scientists who, despite
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on the ideological press, they found the opportunity to show in their numerous works the development of Bashkir national literature of this period in a multifaceted aspect.
The first works, which examined the problems of the development of Bashkir literature of the pre-October period, were published in the late 20s and early 30s of the last century and immediately found themselves in the center of ideological struggle.1 Thus, it can be noted that if S. Miras speaks As a supporter of the development of Bashkir literature in national traditions, D. Yulty considered following national traditions in literature to be “feudal remnants” and called for a fight against such phenomena. G. Amantai, in turn, was a supporter of defining national literature in terms of a specific historical stage in the life of the nation, the national identity of the writer, the language and theme of the work. The most detailed analysis of the literary process of the early 20th century was given in the works of A.I. Kharisov, G.B Khusainov, V.I. Akhmadeev and others. Their research brings to the fore a huge layer of works of this period and traces the history of the formation of Bashkir literature. A. Kharisov’s work “Ways of development of Bashkir literature” mainly touches on the work of Sh. Babich and M. Gafuri, and only those aspects of their creative activity in which revolutionary ideas can be traced. The scientist calls for a critical development of the creative heritage of these poets - “accept the best, weed out the bad.”2 In the fundamental works of V. Akhmadeev, who mainly studied the literary process of the early 20th century, almost the entire layer of the literary heritage of this period of development of Bashkir literature was studied. They identify the main problems and identify the role of the literary environment, setting goals and objectives for further study of the creative heritage of Bashkir literature of the early 20th century.3 In the works of Academician G.
1 Miras S. The birth and development of Bashkir literature // Bashkort aimagy, 1928, No. 5, pp. 52-60 (in Bashk, in language), Yulty D. “The Motley Gyrfalcon” and its ideologists / Yuktober, 1930L-I. P.59 (in Bashkortostan); Amantay G. Principles for determining national literature // October, 1934, No. 4, (in Bashkortostan)
2 Kharisov A. Ways of development of Bashkir literature. // Issues of development of Bashkir Soviet literature. Ufa IYAL BF USSR, 1957. 250 p. (in Bashkir)
3 Akhmadiev V. Bashkir poetry of the early 20th century Dissertation for the degree of candidate of philological sciences. Ufa. 1970. (in Bashkir): He is the same. The first steps of Bashkir prose and drama // Agidel.1971, No. 4, P.43 (in Bashkir); It's him. Traditional images of Bashkir poetry // Agidel, 1971, No. 3, P.114 (in Bashkir); It's him. Problems of studying Bashkir literature of the early 20th century. // Agidel. 1973. No. 3. (in Bashkortostan); It's him. Stylistic features of the Bashkir prose of the educational realdam // Questions of method and style in Bashkir literature. Ufa" IIAL BF AS USSR, 1980 (Nabashk language) and other works.
B. Khusainov carefully analyzed the question of the essential features of the creative process of this period in the aspect of the interaction of methods and literary trends in the formation of realism.1 Research by G.S. Kunafin are devoted to the peculiarities of Bashkir song and satirical poetry of the early 20th century, and also comprehensively examine the work of individual writers.2
A huge role in the study of Bashkir literature of the early 20th century. played a role in the publication of the two-volume anthology “Bashkir Literature. The beginning of the 20th century" (1983, 1984). It contains lyrical, epic, lyric-epic and dramatic works. writers of the era in question. The second volume of collective work under the leadership of Professor G.B. Khusainov’s “History of Bashkir Literature” made a great development in the study of the Bashkir literary process of the early 20th century.3 Without in any way detracting from the relevance and positive significance of the above-mentioned works, it should be noted that in most of them they considered the features of the development of the literary process, during the dominance of the ideology and method of “socialist realism." In this dissertation
an attempt is made to carry out a multifaceted analysis of the literary word and literary processes in Bashkir literature of the early 20th century from the point of view of new literary concepts.
Research material. The main material for the study was periodicals in the “Turkic” languages of the Urals and Volga region, individual works, anthologies, dictionaries, reference books and other sources of a scientific, critical and encyclopedic nature in the Bashkir, Tatar, Russian and Old Turkic languages from the collections of the National Library. A.-Z. Validi of the Republic of Bashkortostan and the libraries of the Bashkir State University.
Scientific novelty of the work. is that for the first time in Bashkir literary criticism an attempt was made to study the features of the development of the Bashkir literary process of the early 20th century in a monographic way, by analyzing literary texts published in periodicals of that time. In the dissertation
"Khusainov G.B. Issues of creative methods in Bashkir literature. // Issues of method and style in Bashkir literature. Ufa: Institute of Literature of the BF AS USSR. 1980 (in Bashkir)
2 Kun of Athens G.S. Bashkir literary poetry of the 19th - early 20th centuries Problems of the formation and development of the genre system. -Ufa BSU. 1997 155 p. (in head language), Oi. Both song and satire. Development of the genre system of Bashkir literary song and satirical poetry of the 19th - early 20th centuries. Ufa: Kitap. 1998. 256 p. (in Russian);
3 History of Bashkir literature. In 6 volumes T.2. Ufa. Bashkir book publishing house. 1990. 580 s
the entire multifaceted layer of the literary process, its complex, diverse ideological and artistic movements are considered in the context of modern scientific achievements and national literary thought.
The theoretical and methodological basis of the dissertation are the works of such famous literary scholars, writers of East and West as V.E. Khalizev, Ch.T. Aitmatov, G.D. Gachev, D.S. Likhachev, M.M. Bakhtin and others.1 The dissertation author is also guided by the research of Bashkir scientists L.-Z. Validi, G. Amantaya, A.I. Kharisova, G.B. Khusainova, R.N. Baimova, V.I. Akhmadeeva, Z.A. Nurgalina, S.A. Galina, K.A. Akhmedyanova, G. S. Kunafina and others2
The scientific, theoretical and practical significance of the work lies in the study of the literary process of the early 20th century on the basis of historical and comparative typological analysis. These results can be useful in studying the history of Bashkir literature, studying interliterary connections, teaching special courses on the history of Bashkir literature in universities and colleges, and preparing teaching aids.
"Timofeev L.I. Fundamentals of the theory of literature. -M.: Education, 1971, 464 pp.; Aitmatov Ch.T. Soil and fate. // Literary newspaper, 1989, November 8.; Gachev G.D. Inevitable. Accelerated development literature. - M.: Khudozhestvennaya literatura 1989; Likhachev D. S. Development of Russian literature of the X-XVIII centuries. Epochs and styles. M. 1975. 389 e.;
2 Validi A.-Z. Works, (translation, comments, compilation of the introduction by A. Salikhov.) - Ufa.: Kitap. 1996. 216 p.; (in Bashkir); Kharisov A.I. Spiritual roots. Questions of literature and folklore. Ufa: Bashkir book publishing house. 1984. 240 p. (in head language); Khusainov G.B. Traditional genre system in Bashkir literature. // Genre system of Bashkir literature. Ufa.: IYAL BF AS USSR, 1980, 217 p. (in head language); It's him. Time. Literature. Writer. Ufa. Bashkir book publishing house. 1978. 260 p. (in Bashkir), Akhmadiev V. Bashkir poetry of the early 20th century. Dissertation for the degree of candidate of philological sciences. Ufa. 1970. (in Bashkir); It's him. The first steps of Bashkir prose and drama // Agidel, 1971, K" 4, p. 43 (in Bashkir); It's him. Traditional images of Bashkir poetry // Agidel, 1971, No. 3, P. 114 (in Bashkir); It's him. Problems of studying Bashkir literature of the early 20th century. // Agidel. 1973. No. 3. (in Bashkortostan), Baimov R.N. Step into maturity. -Ufa Bashkir book publishing house. 1975.290 p. (in Russian); It's him. There is no end to the search. Ufa: Bashkir Book Publishing House. 1978. (in Russian).; He is also Eastern literature. Materials on the history of Indian, Iranian, Arabic literatures from ancient times to the 17th century: Educational and methodological manual.-Ufa. BSU, 199 p. (in Russian); Galin S. A. On the issue of accelerated development of literature // Literature. Folklore. Literary heritage. Book one. Ufa.: BSU.-1975, 233 p. (in head language); Nurgalin Z.A. In the light of publicity. Ufa: Bashkir Book Publishing House. 1992 280 p. Akhmetyanov K.A. Theory of Literature" General information. Edition 2. Ufa.: Bashkir Book Publishing House, 1985. - 385 pp. Kunafin G.S. Both song and satire. Development of the genre system of Bashkir literary song and satirical poetry of the 19th - early 20th centuries Ufa, China, 1998, 256 pp. (in Russian);
Approbation of work. The dissertation manuscript was discussed at a meeting of the Department of Bashkir Literature and Folklore of the Bashkir State University. The main provisions and conclusions of the dissertation were presented in the republican periodicals, in scientific collections, as well as in the form of reports and speeches at scientific and practical conferences and symposiums at various levels.
Work structure. The dissertation consists of an introduction, three chapters, a conclusion and a bibliography.
The introduction substantiates the relevance of the topic, analyzes the degree of its scientific development, provides a historiography of the problem, defines the goals and objectives of the study, the practical significance and scientific novelty of the work.
The first chapter - “The Bashkir literary and social process of the early 20th century” - examines the literary process against the background of the social and public life of the Bashkirs in 1905-1917. The main attention is paid to determining the causes and conditions for the accelerated development of national literature of this period.
In connection with the socio-political upheavals in the Russian Empire at the beginning of the 20th century, the socio-historical and political life of the Bashkir people underwent significant changes. The reason for the growth of social protest was, firstly, the appearance of two documents of the tsarist government - “On the transfer of Bashkir forests of the Ufa and Orenburg provinces to the state” dated July 6, 1894 and “On the general delimitation of Bashkir forests between rural communities.” In this regard, the land issue became vitally important for the Bashkirs. The agrarian reform of P. Stolypin contributed to the growth of the newcomer population from the central provinces, and for the first time in Bashkortostan the non-Bashkir population began to predominate over the indigenous nation. These factors contributed to the emergence of the ethnopsychological antithesis “us-they” and increased the degree of consolidation of the Bashkir ethnic group.1
The next factor in the consolidation of the Bashkir people is considered to be the democratization of education and literature.
It should be noted that by the beginning of 1914, in the Ufa province alone there were more than 1,559 primary schools. To this we must also add the fact that many madrasahs are beginning to introduce
1 Tomashevskaya NII From social space to social time the experience of the ethnic history of the Bashkir ethnos in modern times Ufa Kitap, 2002, P. 136
training according to new programs, known as Jadidism. At the beginning of the 20th century, new madrassas were opened: “Galia”, “Rasuliya”, “Guzmania”, “Husainiya”, etc., which were more secular than religious. If at the end of the 19th century the intellectual part of the Bashkir society was concentrated around such outstanding masters of the pen as M. Akmulla and M. Umetbaev, then at the beginning of the 20th century, in connection with the opening of numerous educational institutions of a new formation, a young Bashkir intelligentsia appeared, and it was they who became the center of literary thought. An important role was played by the emergence of Turkic-language periodicals after the first Russian revolution. Publications such as “Kazan Mukhbire”, “Azat”, “Azat Halyk”, “Yoldyz”, “Bayanulkhak”, “Vakyt”, “Tormysh”, “Koyash”, “Millat”, “Halyk”, as well as magazines “ Shuro”, “Mugallim” and others not only had their own voice and direction, but also their own reader.
Sh. Babich, M. Gafuri, S. Yakshigulov, Y. Yumaev, G. Isanberdin, Kh. Gabitov, G. Khudayarov, A. Tangatarov, published their socio-political, literary-critical and journalistic articles and works of art in these publications. M. Khadyev, M. Tatlybaev and others. The main motive of their works was the most pressing problems of that time - issues of land, education, language. Bashkir themes in them sometimes resulted in heated controversy. A special role in this regard was played by the magazine “Shuro” and the newspapers “Tormysh” and “Vakyt”, through which the Bashkir intelligentsia was able to awaken national self-awareness among the masses. Articles by X. Gabitov “What is the reason for the decrease in the number of Bashkirs?” (“Shuro”, 1913, No. 24), M. Burangulova “The transition of Bashkir lands into the wrong hands and its reasons” (“Shuro”, 1914, No. 19), A.-Z. Validi “Among the Burzyan Bashkirs” (“Shuro”, 1913), “In connection with the arrival of Professor Bartold to us” (“Vakyt”, 1913), “A new work dedicated to the Bashkirs” (“Tormysh”, 1913), book by M. Khadyev’s “History of the Bashkirs” (Ufa, 1912) - these and other works contributed to the emergence of the “writer - reader - writer” connection, which strengthened the communication of writers with the masses and ensured a greater degree of their consolidation. At the same time, it should be noted the negative side of the rapid development of the Turkic-language periodical press: the appearance in numerous publications of that time of articles and works with a low level of aesthetic value. These works had practically the same communicative potential to influence the mass reader, although the scale of the aesthetic thought expressed by them was by no means at a high level.
When studying the features of the evolution of national literature, one cannot fail to take into account those aspects that play in their
development has a special role - this is, for example, the originality and interaction of literatures and the uniqueness of each national literature. Soviet literary criticism in the 20th century very often followed the path of “Europeanization” when studying the problems of literatures of non-European origin. Including national literatures with a long-standing eastern orientation. BSU professor R.N. Baimov and A.A. Fedorov in their works noted the inconsistency of the Eurocentric approach in
cultural and literary space of oriental literatures. Bashkir literature developed from century to century in the traditions of Bashkir folklore, oral literature and literature of the East, the Turkic-speaking literary community, and starting from the Middle Ages and under Islamic influence. In the Soviet period, adopting new “European” systems of versification, Bashkir literature continued its origins and traditions, based on their own linguistic characteristics and, thus, to a certain extent, went against the traditional systems of poetics of influencing literature. As a result of these factors, the influence from generation to generation of eastern literary traditions manifested itself in Bashkir literature in genre renewal and diversity. Bashkir literature experienced a particularly rapid development at the dawn of the 20th century with the beginning of the active manifestation of the “national idea” in literary works in the form of ethnic images, symbols and definitions, such as. “the fate of the nation”, for example. These concepts are especially clearly manifested in the works of S. Yakshigulov “The Ancient Bashkir Steppe”, “Kurai”, “Valley of Dema”, G. Isanberdin “Nomad”, “Before the Yurta”, D. Yulty “The State of the Bashkir”, Sh. Aminev-Tamyani “The History of the Ancestors of the Bashkirs”, F. Tuikin’s “Summer”, etc. In all these works, through the display of national culture and traditions, national way of thinking and other humanistic quests, the “national ideal - the highest form of national philosophizing” is manifested.2 An important role was played by traditional images of Bashkir literature of the early 20th century - horse, batyr, saber, kurai, freedom, eagle, love for the native land, land, knowledge, thereby proving that Bashkir literature of this era corresponds to the reality inherent in the content of national images. These images sounded even more colorful in such works as “Verse of the Nation’s Joy,” “Me and the People,” “Where Am I?” M. Gafuri, “Let's Rise Bashkirs” S. Rakhmatullin, “Young Couple”, “Ancient Bashkir Steppe”,
Baimov RN Eastern literature P 50; Fedorov A. A Eurasian aspect of the methodology of modern regional literary studies // Yadkar, 2000, No. 1. P. 7 2 Andreev A. Rakhmatullina 3 Tradition as a philosophical category // Vatandash, 2000, No. 9, P. 154-156
“Kurai”, “Against Kurai” by S. Yakshigulov, “Ural”, “Contract for Brides”, “The History of the Bashkir Ancestors” by Sh. Aminov-Tamyani, “Bashkir Woman” by G. Kudoyarov, “Me and My Surroundings” by G. Isanberdin, “Waiting”, “For Whom?”, “Kurayu”, “For the People” by ILL Babich, “The State of the Bashkir” by D. Yulty.
The image of the people and the nation was in the center and gave national identity to Bashkir prose and drama, which can be seen, in particular, in F. Suleymanov’s non-serials “In the Bashkir nomad camp”, V. Sultanov’s “Valleys of the Urals”, in F. Tuikin’s drama “ Heroes of the Fatherland”, etc.
The very fact of attracting traditional national images and their updated use was another evidence of the emergence of Bashkir literature as independent.
The peculiarity of the development of Bashkir literature during this period is also manifested in the relationship and mutual influence of Bashkir and Tatar literatures, which led to the formation of a literary and artistic space that was largely common to the two peoples. The main principles of this community were the ethnic closeness of the two peoples, the geographical and administrative-territorial proximity of the Bashkirs and Tatars and, of course, religious unity. At the same time, one more important factor should be taken into account - the factor of language: as is known, before the revolution, the Bashkirs and Tatars used a common written literary language - the “Turks” of the Ural-Volga region, representing a peculiar mixture of Kipchak, Bulgar, Chagatai, Ottoman vocabulary with abundant interspersed with Persian and Arabic languages.1 And yet, in the works and articles of Bashkir writers the national character was very clearly manifested, national themes dominated, and the most pressing problems facing the Bashkir nation were highlighted. They trace the synthesis of traditions of oral and written literature, and reveal the national flavor of the linguistic and stylistic features of the Bashkir dialects as a unique poetic value2 (cycle of poems “Ural”, “Human Life”, Sh. Amineva-Tamyani, poems by S. Yakshigulov, M. Gafuri) . The classic of Kyrgyz literature Ch. Aitmatov, speaking about the national character of the work, considers it important not only the element of language, but also the element
national thinking.
1 Amantay G Principles for determining national literature // October 1934, No. 4, (in Bashkortostan),
2 Khusainov G.B Bashkir literature Beginning of the 20th century Book one Ufa Bashkir book publishing house, 1983, P 73
The development of Bashkir literature at the beginning of the 20th century was facilitated by direct literary translations of works of traditional Eastern literature, as well as works by Western writers through Russian literature. As a result of the synthetic development of this literary heritage, the Bashkir reader became familiar with examples of other literatures, thereby mastering new possibilities of artistic creativity. At the same time, some of the foreign literary impulses were accepted by our literature. Safuan Yakshigulov was especially successful in this: in his works such as “The Snake and the Leech” (according to K. Dmitriev), “Tree”, “Miller”, “Monkey and Glasses” (according to I. Krylov), “Hares and Frogs” "(according to L. Tolstoy), he managed to create a unique symbiosis - literary material, taken from Russian culture, is presented by him within the framework of the classical genres of Eastern literature. Literary translations of this period played a big role in identifying the spiritual needs of the reader, providing him with information through the national language with works of other literature, another culture.
The strengthening of national motives in literature - bringing the literary and intellectual layers closer to the life of the common people - gave additional (presentational) impulses and functions to the writing community. Writers became bearers of “national ideology,” which was especially clearly expressed in the works of M. Gafuri, Sh. Babich, S. Rakhmatullin, Y. Yumaev, S. Yakshigulov, Sh. Aminev-Tamyani and others.
Nevertheless, Bashkir literature developed at an accelerated pace, perceiving external impulses from both Eastern traditions and Western literary systems and at the same time “subjecting these impulses to processing according to the laws of their national and linguistic characteristics.”1 In the accelerated development of Bashkir literature, scientific and historical journalism A.-Z. Validi, which already reveals the author’s thinking on a global scale.
Thus, three factors are identified to determine the characteristics of the Bashkir literary and social process at the beginning of the 20th century.
Firstly, in the conditions of political, economic and social contradictions in society, a pre-revolutionary situation is maturing, and secondly, as a result of the transition of some madrasahs to new training programs and the democratization of education, a literary environment is being formed, the core of which is in the periodical press every day
1 Gachev GD Inevitable Accelerated development of literature.-M Fiction 1989. P. 346
strengthens the connection between the national intelligentsia and the masses. Thirdly, literature develops not only with the help of impulses from the outside, but also boldly processes them in accordance with the internal laws of its development, and young Bashkir national literature has become the “carrier of national ideology,” strengthening the “national spirit and self-awareness” within its ranks.
The second chapter - “The genre system of Bashkir literature of the early 20th century” - examines the features of the development and synthesis of genres.
The driving force behind the accelerated development of Bashkir literature was the genre system. Proof of this is the fact that with each new work, writers increasingly turned to new genres that had not previously been observed in Bashkir literature. The renewal of Bashkir literature in the field of genre forms became possible primarily as a result of the accelerated formation of new literary genera and genre forms, which gave writers the opportunity to create a work of art distinguished by the originality of the expression of aesthetic thought.
Until the beginning of the 20th century, Bashkir literature developed primarily within the framework of the traditional eastern genre system, within the boundaries of such poetic genres as madhiya, masnavi, gazelle, kit, masal, neser, hitap, etc., in prose - hikayat, Hikaya, Parsa, Qissa, Dastan, Nasihat and Tamsil. According to G. Khusainov, in Eastern literature the names of the genres themselves determine the main direction, scope of content and form.2 At the same time, changes in the socio-political sphere had a huge impact on the literary process , and above all, this was manifested in the emergence of new prosaic and poetic genre forms, borrowed and adopted from the European literary system - story, essay, feuilleton, poem, ballad, elegy. A completely new literary genre appeared for Bashkir literature - dramatic, in particular, such genre forms as comedy and drama.
In Bashkir poetry at the beginning of the 20th century, classical genre forms of oriental literature still prevailed - masnavi, rubai, ghazal, kit, qasida, marsiya, masala and madhiya.
Masala genre. being a genre form of epic poetry of Arab-Persian and Turkic literature, it was, perhaps, the most
"Khusainov GB A great achievement of Bashkir literary science // Vatandash, 1997. No. 4, P 113
2 Khusainov GB Traditional genre system in Bashkir literature // Genre system of Bashkir literature Ufa 11YALBF LN USSR, 1930. P. 9
a common form addressed by M. Gafuri (masala “Duck and Eagle” and poems “Truth”, “Star”, “First Love”, “Looking for Happiness”, “Where am I?”), S. Yakshigulov (“Against Kurai” ", "The State of the Bashkirs", "Valley of Dema", "Bashkir Girl"), Sh. Aminev-Tamyani (cycle of poems "Ural"), Y. Yumaev (literary translations of works by L.S. Pushkin and M.Yu. Lermontov) , Sh. Babich (“Kitabennas”, ballad “Bedbug”, poem “Gazazil”), etc.
In the presentation of poetic material taken from the classics of Russian literature, in many cases the use of the genre of the eastern literary system of Masnavi is observed (fables by I. Krylov, K. Dmitriev, poems by A. Pushkin and M. Lermontov, etc.)
The classical traditions of the rubai genre continued in Bashkir poetry of this period, in particular in the works of Y. Yumaev (“Loyalty”, “Soul”), Sh. Babich (“Hey, Mullah Abzyy”, “Cool Declamation”, “Garden of Names”) . Sh. Babich's rubai reveals the author's special attitude to every punctuation mark, every letter, as a result of which the young poet's philosophical thought becomes even more sublime. The qasida genre is considered one of the ancient ones in eastern poetry, and Bashkir poets turned to it quite often. For example, S. Yakshigulov’s poem “Sulpan” is one of the best examples in Bashkir poetry, where all structural parts of this genre are strictly observed: matla (1st beit), nasib (Introduction), dedication - gurezgokh (transitional beits), qasid ( goals of qasida) and makta (conclusion). Y. Yumaev (“Girl”, “To My Eyes”, “Soul”) and G. Isanberdin (“Motherland”) also created their works in this genre form. The marsiyya genre has undergone structural changes (M. Gafuri “Towards the death of the poet G. Tukay”, Sh. Babich “After the death of Tukay”, etc.), kit "a Sh, Babich, S. Yakshigulov, G. Khudayarova, Y. Yumaev , G. Isanberdina, Sh. Amineva-Tamyani and others.
The growth of the revolutionary democratic movement was one of the reasons that led to changes in the direction of the development of Bashkir social thought and literary environment, when during the years of the imperialist war new examples of poetry based on the European literary system began to appear. This was primarily manifested in the genre of the poem. The poems by Sh. Babich “Gazazil”, M. Gafuri “The Vanished Treasure”, B. Mirzanov’s “Revolution” (Inkilap), “The Ambassador”, based on folklore and religious material, represent a unique synthesis of various directions of romanticism. A genre synthesis of the literary systems of East and West is represented by the poems of Sh. Babich and B. Mirzanov, written in the form of a stanza with a paired masnavi rhyme.
The rapid growth of capitalist relations brought significant changes to the harmonious combination of man and nature. Against this background, the first epic works based on the Western literary system appeared. First of all, this is a story. Stories by R. Fakhretdinov “Salima or Giffat”, “Asma or Punishment”, 3. Khadi “Happy Girl”, “Unhappy Girl”, “Zikhansha Khazret”, M. Gafuri “Poor or Tenant”, 3. Ummati “A Lesson for Fathers” , for the young - for future use”, A. Isanberdina “Unhappy Love or Mansur and Galia”, M. Sagdi “The Unhappy” and others are examples of the fact that Bashkir writers in their works gradually freed themselves from abstract didactics, to a certain extent imposed by the Eastern genre system. Through the spiritual search for a new hero, they sometimes criticize the past, which has become obsolete; One of the means of depicting the confrontation between the individual and society, the crisis of individual consciousness is the appearance of the fictional, fantastic along with the real. A new area of artistic comprehension has opened up for the writer - the opportunity to penetrate into the inner world of an individual person (personality) and describe its development in accordance with one’s aesthetic ideals. This made it possible to individualize the hero, present him in various situations and collisions, both real and fictional, which was a significant achievement for young Bashkir prose.
The stories had another genre feature. They, representing in their structure a framed story, with a “box” composition characteristic of Eastern literature, consisted of many chapters, which were often called by the names of the heroes: “Gabbas Mullah”, “Asma”, “Hajhi Hikmat”, “Salim Babai” , “Brakes of progress”, “Who is strict?”, “Bad news”, “Unhappy Asma”, “Grandfather Yusuf and his old woman”, “Love”, “Servants of Shaitan” (story by R. Fakhretdinov “Asma...") , “The Joy of Spring”, “Guest of Gaziza”, “Yauchi Sahib”, “New Yauchi”, etc. (A. Isanberdin “Unhappy Love, or Mansur and Galia”. Each section of these stories appears as a separate work with an independent plot, but characters common to the entire story as a whole. These phenomena give us the opportunity to assert that already the first Bashkir stories show how two literary systems successfully took root in national literature and formed a kind of genre synthesis. Although each hikayat, chapter forms a separate “box”, the events as a whole develop along one storyline, a “frame,” which ultimately ensures the compositional integrity of the entire work. Thus, the genre of the story, with its possibilities for a complete, comprehensive depiction of life phenomena, was able to synthesize the features of the epic traditions of the East and West.
The beginning of the 20th century contributed to the rapid development of another epic genre - hikayat. The features of this genre manifested themselves in a new way in the works of F. Suleymanov (“Pestilence”, “For the Motherland”, “Fugitive”). Hikayat “For the Motherland” begins with landscape lyrics dedicated to the Urals, and then events unfold in a completely different direction - before us is a description of a small episode from the time of the Pugachev uprising, when, having defended his family, his small homeland, an old man dies. With the help of a small life episode, the author manages to create a vivid, imaginative picture that expresses the writer’s civic position, directed against war and violence. A distinctive feature of the hikayat genre of this period was the possibility of depicting the life of Bashkir society, when every day the former harmony of man and nature disappears from under our feet. Innovative features are introduced by F. Suleymanov into the traditional genre using the expressive capabilities of language, the use of folklore, and the use of an adventure plot. The genre possibilities of hikayat gradually freed themselves from the synthetic influence of folklore and moved closer to written literature, as a result of which a new genre appeared in Bashkir prose - hikayah, close to the genre of the European story. 3. Khadi ("The Unhappy Girl", "The Waiter") especially succeeded in this genre , “Magsum”), F. Valiev (“On the Boat”, “One Penny”, “Teacher Irkhan”), V. Sultanov (“Feast for the Starving”), F. Suleymanov (“Here are the last days of Pompey for you!”, “Kuraichi Timerbai”), G. Rafiki (“Issyk-Kul”, “Rauza”, “In the Valleys of Alatau”) and others. The hikaya genre brought the image of the “little man” into the literary process of the early 20th century. It should also be noted that it was in this genre that the plot was able, at its culmination, to transform into a new quality - character, and as a result, the possibility of a psychological analysis of the hero’s experiences arose.
The first sparks of artistic thinking began to appear in journalism, which every day strengthened its position in the Bashkir literature of the described era. In the songs of M. Gafuri (“Ear of Rye”), L. Tangatarov (“Mothers”, “No Strength”, “With Hope”, “Spring Dream”, “Looking at the Mountains”, etc.) this genre became especially notable for its , that the authors managed to use it to reflect moments of human feelings in which a person’s individuality is expressed. The most pressing problems of his era, the relationship between man and society, were expressed by the classic of Bashkir literature Sh. Babich in his feuilletons, published back in 1913-14. in the magazines “Akmulla” and “Karmak”.
The emergence of a new genre for Bashkir literature - drama - was accompanied in the national environment by the emergence of the possibility of showing national identity, the uniqueness of the national character.
This is clearly seen in the plays of G. Gumersky “At War”, F. Tuikin “Heroes of the Fatherland”, “Victims of Life”, B. Bakhtigary uly “Sale of Land”, G. Niyazbaev “Strong and Weak”, etc. Thus, Bashkir literature entered a new era as an independent national literature, which not only accepted the impulses of the genre systems of the East and West, but also boldly synthesized them in accordance with national literary traditions and stylistic features of the language, while combining traditions and innovation. An important role in the process of formation of new genre forms was played by both venerable writers and newcomers just entering literature, including the new and traditional into a single historical stream.1
The third chapter, “Issues of creative method and style in Bashkir literature of the early 20th century,” examines the features of literary trends and the nature of individual styles of the period under study.
The presentability (and, accordingly, representativeness) of literary creativity has expanded the possibilities of influence of the literary environment on society as a whole. In this regard, the writer approached the masses. Unfortunately, in many of the works listed above, mainly for ideological reasons, many aspects of the literary process were considered only on the principle of compliance or non-compliance with “revolutionary ideological motives.”2
The beginning of the 20th century was marked in Bashkir literature by the continuation of the traditions of educational realism by M. Akmulla and M. Umetbaev. These traditions were expressed, first of all, in the prose of R. Fakhretdinov, Z. Khadi, M. Gafuri, and in the poetic works of M. Gafuri, S. Yakshigulov, D. Yulty. If educational realism is in Bashkir prose (in the works of R. Fakhretdinov “Salima ...”, “Asma ...”, A. Tagirov “Corrupt Girls”, K. Tuikin “Bad Fellow Traveler”, 3. Ummati “A lesson for parents, young people - for future use") puts an educated and well-mannered citizen in the foreground, then in the story 3. Hadi “Zihansha Khazret,” on the contrary, the religious reactionary figure Zihansha Khazret is ridiculed. The traditions of educational realism were also reflected in the poems of S. Yakshigulov “Bashkirs, let us rise!”, M. Gafuri “Poem of the Joy of the Nation” and others, in which the authors
"BaimovRN Step into maturity - Ufa Bashkir book publishing house, 1975 - C 69 2 Akhmetyanov K A Theory of literature General information Second edition Ufa Bashkir book publishing house - 1985 C 310
they call on the people for freedom, knowledge, they urge them not to lag behind others, to keep up with the times. Particularly noteworthy is the fact of the synthesis of Eastern and European realism with the traditions of progressive national romanticism. The era itself moved Bashkir writers in search of style. For example, in the work of Sh. Babich, various directions of romanticism simultaneously existed: both optimistic and life-affirming (“Spring Song”, “Spring”, “One Minute”, etc.), and pessimistic-decadent, decadent (“In the Dark”, “In moments of despair”, “Last troubles”, “The interesting thing is over”, etc.). It is this diversity and variety of methods and styles in the Bashkir literary environment that represent the most complete and reliable picture of the artistic thought of the era. The years of black reaction (1907 - 1911) affected the appearance of pessimistic works in Bashkir literature. This was especially clearly expressed in the poems by M. Gafuri “Life”, “Thoughts”, S. Yakshigulov “Looking at the Current”, “Looking at the Yellowed Leaf”, G. Khudayarov “At the Cemetery”, Y. Yumaev “At the Mother’s Grave”, X. Gabitova “Why do these candles go out?”, B. Mirzanov “The History of the Soul”, “At the Mother’s Grave”, in B. Mirzanov’s poems “Inkilap” (Revolution), “Ambassador”, etc. The romantic direction was most clearly expressed in the special synthesis of eastern and western principles - in the nesers of A. Tangatarov (“Mothers”, “No Strength”, “Fragments of Literature”, “Spring Dream”, “Forgetfulness”), F. Suleymanov and others. As a result, the national traditions of the romantic style (epics , dastans and kubairs), while maintaining their peculiarity and originality, were replenished with the very trends of Eastern romanticism and the “author’s poetics” of the West. Therefore, in all manifestations of romanticism, “national self-consciousness” was more expressive. Continuing the traditions of folk poetics and mythology, epic monuments “Ural Batyr”, “Akbuzat”, “Panchatantra”, “Ramayana”, “Mahabharata”, classics of oriental poetry Ferdowsi, Saadi, Fizuli and others, Bashkir literature actively synthesized their realistic and romantic directions.
Romanticism thereby had a huge influence on the realistic movement, which strengthened its position in connection with the rapid development of capitalist relations in Bashkortostan. In the literature of this period, a realistic depiction of life, synthesizing the traditions of Eastern and European realism, was most clearly reflected in the poetry of M. Ghafuri (“The State of Muslims in Other States”, “Europe-Asia”, “Testament of 1906 to 1907”, “Response of 1907” 1906”, “Policy of the British”, Sh. Babich “to the hero A. Karamyshev”, “In connection with the agreement with the Bolsheviks”, “For my people”), D. Yulty (“Let them not speak”, “The Last Century”) , in prose by R. Fakhretdinov, 3. Khadi.
The mutual influence and synthesis of creative methods were expressed, in particular, in the open manifestation of the national spirit, self-awareness and national thought of the Bashkir people in the works of this period. At the same time, Bashkir national literature of the early 20th century moved along an evolutionary path, introducing the best traditions of other literary systems to its traditions.
However, the February and, a little later, the October revolutions divided the Bashkir literary environment into two irreconcilable and opposing groups. As a result, Sh. Babich, M. Burangulov, S. Miras, Kh. Gabitov, F. Suleymanov, G. Irkabaev chose the national movement, and A. Tagirov, D. Yulty, M. Gafuri and others chose the Bolshevik government.
Subsequently, after the defeat of the national movement in 1920, all the stylistic, genre and artistic diversity, the synthesis of artistic methods, so characteristic of the literature of the early 20th century, began to decline due to new ideological, political, etc. conditions. In the cultural strata of society, this led to a sharp division on class grounds. The dissertation author believes that the reason for the emergence and manifestation of such a categorical confrontation in the literary environment is not only the socio-political split in literature, but also a reflection of the natural inconsistency of traditions and innovation that the experience of national artistic thought of the early 20th century encountered.
Thus, many manifestations of the synthesis of creative methods and styles, reflecting the national characteristics of the literary environment of the early 20th century, remained outside the field of view of official literary criticism of the 20-30s, thereby opening the natural continuity of generations and hiding it in the shadow of “ideological approaches” .
Conclusion. The changes that took place in Bashkir society at the beginning of the 20th century were marked by the gradual movement of the “national idea”, “national theme”, “national consciousness” and “national thought” to the masses, and Bashkir literature was the main carrier and exponent of these ideas. With the help of new communication opportunities - periodicals in the Turkic languages of the Urals and Volga region, the literary environment formed in educational institutions of the Jadidist type, such as “Galia”, “Rasuliya”, “Khusainiya”, “Gosmaniya”, national literature managed to consolidate the Bashkir society around ideas of national independence. The dissertation author draws conclusions that the synthesis of genres, styles, creative methods and traditions played a huge role in
the formation of a new sound of artistic expression on the Bashkir literary soil in this period, shows the reasons for the contradictions in Bashkir literature after the revolution and civil war, which gave rise to the phenomenon of excessive ideologization of literature in subsequent periods of development.
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7. The literary process of the beginning of the 20th century (in Bashkir) // Issues of the Bashkir language and literature. Materials of the scientific and practical conference. - Sterlitamak: SGPI, 2004 (in print)
Kutlyakhmetov Amir Misbakhovich
FEATURES OF THE DEVELOPMENT OF BASHKIR LITERATURE AT THE BEGINNING OF THE XX CENTURY
Signed for publication on April 15, 2004. Offset paper. Format 60x84/16. Times typeface. Printed on a risograph. Conditions of sadness 1.16. Academician-ed.l. 1.39. Circulation 100 copies. Order 261.
Editorial and Publishing Department of the Bashkir State University 450074, Republic of Belarus, Ufa, Frunze St., 32.
Printed at the duplicating site of the Bashkir State University 450074, Republic of Belarus, Ufa, Frunze St., 32.
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Bashkir literature has its roots in ancient times. Early Bashkir fiction dates back to the Bulgar period, ancient Bulgar poetic monuments. Its characteristic example is the poem “Kissa-i Yusuf” by Kol Gali, created in the 13th century. The romantic plot about Zuleikha’s love for Yusuf basically goes back to classical oriental literature, more precisely, to the poem of the same name by Ferdowsi; the language and style of the work, all the poetics correspond to the literary traditions of the East.
The Turkic-language literature of the Ural-Volga region, which developed in the Bulgar period of the 12th – 13th centuries, was characterized by the stability of genres, a certain structure of works, a canonized system of plot, compositional features, and forms of versification. The foundations of normative poetics were formed, closely connected with ancient Turkic poetics and the traditions of Eastern literature. The literary language “Turkic” was born, which later became the common literary language of the Turkic-speaking tribes of a large area. A unified literary system of the Ural-Volga region was formed.
In the XIII – XIV centuries, during the period of formation of the Bashkir people and the improvement of its language on a Kipchak basis, the so-called Kipchak literature in the “Turkic” language received widespread development on the vast territory of the Golden Horde. Thus, dastans “Khosrov and Shirin” (1341-1342) Kotbi, “Mukhabbatname” (1353 – 1354) Khorezmi, “Jumjuma soltan” (1369 – 1370) Khusam Katibi, “Kitaby bit Turki Gulstan” (1391 – 1393) Saif Sarai and other classical works that have a single artistic system and a common literary language have become poetic monuments of the Uzbeks, Kazakhs, Tatars and Bashkirs.
Bashkir literature was shaped like Eastern literature. Traditional genres predominate in poetry - ghazal, madhiya, qasida, dastan, canonized poetics
Despite the gradual emergence and formation of national literatures, Tatar and Bashkir literature until the middle of the 19th century. retained and developed many common regional features. These features were very stable; they continued in some of their archaic, conservative forms in the works of M. Kuluy (XVII century), Tazhetdin Yalsygul (XVIII century), Utyz Imeni, Abelmanikh Kargaly, Gali Sokroy (XIX century).
The annexation of Bashkiria to the Russian state in the mid-16th century was a turning point in the cultural development of the Bashkir people. The consolidation of the people intensified, and a broad prospect for close ties and creative interaction with progressive Russian culture opened up. Bashkir literature begins to take shape as a unique national art of speech. In poetry, along with general regional characteristics, a national “territorial-geographical” theme appears, associated with the Urals, with the life and way of life of the Bashkirs, the connection with oral poetic creativity is strengthened, new genres and poetic forms arise, inherent only in Bashkir poetry.
The most characteristic thing in the development of Bashkir poetry of this period is its close interaction with folklore. In fact, written poetry of a democratic nature, which arose and developed on the basis of folk art, had previously experienced its beneficial effects. Thus, in the XII – XVI centuries, characterized by the struggle of Bashkir clans and tribes against the Tatar-Mongol conquerors and various khanates, as well as the process of formation of nationalities, patriotic in content, folk in spirit, folklore and literary works were intertwined even more closely. Works of this type, such as “The Last of the Sartaev Family”, the work of ancient masters of the art of words - yyrau - determined the democratic orientation of Bashkir literature. In the XV-XVI centuries. From oral collective literature, the names and individual creations of Khabra-yyrau and Asan-Kaigy stand out. Kaztugan and others, popular not only among the Bashkirs, but also among the Kazakhs, Karakalpaks and Nogais.
Then the Bashkir sesen Kubagush (XVI century), Karas (XVII century) enter the historical arena. Bank (XVIII century) and others, whose names and poetic heritage have been preserved by the memory of the people.
Among the handwritten monuments of the 16th – 19th centuries. Bashkir shezhere – genealogies occupy a special place. In the large written shezher of the tribes Yurmata, Kipchak, Tabyn, Usergen, folklore and literary principles are uniquely combined. In the shezher, the chronicle of the Bashkir tribe is often intertwined with a vivid chronicle of historical events, traditions and legends, descriptions of the life and activities of certain historical figures. Thus, in the shezher of the Usergen tribe, the founder of the Muitan clan is glorified. He appears as the epic hero of the Kubairs; his son Usergen, grandchildren, and great-grandchildren are given a brief and apt poetic description.
Among the written monuments of the Bashkirs, various labels, letters, vakignames, and messages are worthy of attention. The most significant among them is the letter from the leader of the Bashkir uprising of 1755, Bagyrgdi, to Empress Elizabeth Petrovna.
After the major Bashkir uprisings of the 18th century, especially after the Peasant War of 1773 - 1775, the tsarist autocracy, having finally become convinced of the impossibility of suppressing the liberation struggle of the Bashkirs only with fire and sword, took up ideological weapons with great zeal. For example, the opening in Ufa by decree of Catherine II In 1789, the Spiritual Assembly of Russian Muslims, led by the Mufti, marked the beginning of widespread propaganda of the ideology of Islam in Bashkiria and the Volga region. Religious books flooded the region, which also influenced fiction.
As a result, in the first half and middle of the 19th century, religious and mystical works of the Sufi persuasion predominated in Bashkir and Tatar literature. It was during this period that Sufi poets emerged from among the Bashkirs, such as Tazhetdin Yalsygul Al-Bashkordi (1767 - 1838), Mendi Kutush Kypsaki (1761 - 1849), Abelmanikh Kargaly (1784 - 1824), Khibatulla Salikhov (1794 -1867), Shamsetdin Zaki (1825 – 1865) and Gali Sokroy (1826 – 1889).
History of culture and literature of Bashkortostan in the second half of the 19th century. characterized by an orientation towards Russian progressive culture, the strengthening of secular and educational ideas and motives associated with the life of the Bashkirs in poetic works.
Writers M. Umetbaev and M. Akmulla became prominent representatives of the educational movement in Bashkortostan.
The emergence and development of the revolutionary-democratic direction of Bashkir literature is associated primarily with the name and work of Mazhit Gafuri (1880 - 1934). Following him, in the pre-October period, Safuan Yakshigulov (1871 - 1931), Daut Yulty (1893 - 1938), Shaykhzada Babich (1895 - 1919) and many others entered literature.
Over the years of Soviet power, Bashkir literature has grown to include beautiful realistic poetry, multifaceted novels and drama of various genres. The point, of course, is not only the enrichment of modern Bashkir literature with all types and kinds of poetry, prose and drama developed in the world artistic development. It is becoming richer in its ideological content and in those specific approaches to their artistic solution, which are of great interest to other peoples. According to G.V. Khusainov.
