Kazakh literature
Kazakh literature is characterized by epic and lyrical traditions that go back centuries. To mid-19th centuries, rich folk poetry, covering all genres (especially heroic songs, lyrics, songs, fairy tales and legends), was the only possible form in which the Kazakh people could express their views on the past and real life, your dreams of a wonderful future.
Individual poetic creativity reaches its brightest pronounced character in the poetry of akyns, starting from the 18th century. Significant representatives of this genre were Bukhar-zhyrau Kalkamanov (1693-1787), Makhambet Utemisov (1804-1846) and Sherniyaz Zharylgasov (1817-1881). In the works of folk singers - akyns (aitysakh, tolgau) two main trends are identified: 1) democratic, expressing the aspirations of the people, their aspirations for better conditions lives that he could achieve with the help of the friendly Russian people, 2) promoting the existing system, glorifying the dominant feudal elite in the person of the bais and representatives of the Islamic religion.
Only with the final political, economic, and at the same time. and with the cultural annexation of Kazakhstan to Russia, independent fiction began to take shape. Although in 1807 the first book was published in the Kazakh language, which then used the Arabic alphabet (only in 1940 did the Kazakh writing switch to the Russian alphabet), the decisive impulses for the spiritual and cultural development of Kazakhstan began to come only from contact with Russian revolutionary democratic circles. Russian orientalists, such as Vasily Radlov (1837–1918), collected and recorded works of oral folk art Kazakhs. Under the influence of the ideas of Russian revolutionary democracy, a broad educational movement began in the 19th century, which in turn prepared the ground for the development of national Kazakh literature. Was of great importance creative activity the first outstanding Kazakh scientist Chokan Valikhanov (1835-1865), as well as the educator Ibrai Altynsarin (1841 -1889) - a writer and teacher, he was one of the creators of writing based on the Russian alphabet.
Kazakh poetry reached its heyday and at the same time its classical high point (other genres were not yet so developed) in the work of Abay Kunanbayev (1845-1904), who is the founder of modern Kazakh literature. Thanks to his extensive translation activities, Russian literature became the property of the Kazakh intelligentsia, which at that time numbered a small number of educated people in its ranks.
The beginning of critical realism in the work of Abai Kunanbayev was continued by other artists who created important prerequisites for later Soviet literature: Spandiyar Kubeev (1878-1956), creator of the first Kazakh novel “Kalym”; Sabit Donentaev (1894-1933), who was one of the first among the Kazakhs to sing about socialist life; Sultanmakhmut Toraigyrov (1893-1920), who, thanks to his realistic poetry, can probably be considered as Abai's most significant follower.
And yet... only with the establishment of Soviet power (1917), with colossal transformations in industry and agriculture, with the cultural revolution, a qualitatively new stage in the development of Kazakh national literature began. Kazakh Soviet literature draws artistic means to illuminate new areas of reality from the traditions of democratic folklore, with its broad epic generalizations, its desire to depict heroic characters, with its poetic language and is gradually freed from certain didactic features of reactionary prejudices. In addition, it relies on the achievements of pre-revolutionary critical and realistic literature. At the same time, there are interesting interactions between folklore and literature, which find their clear expression in the work of Dzhambul Dzhabayev (1846-1945).
To the founders of Kazakh Soviet literature, who made a significant contribution to the formation and development of the method socialist realism, include Saken Seifullin (1894-1938), Ilyas Dzhansugurov (1894-1938), Beimbet Mailin (1894-1938) and Sabit Mukanov (born 1900), who in a certain way established continuity and continuity between pre-revolutionary democratic traditions and modern socialist literature. With their poems and poems (S. Seifullin, I. Dzhansugurov), short stories (B. Mailin), novels (S. Mukanov, I. Dzhansugurov) and dramas (S. Seifulliy), they determined the development of Kazakh Soviet literature in the 20-30s .
The new reality required a constant search for new artistic means of expression, which were found either in Kazakh traditions or in Russian or other literature. In the 20s, poetry, as the main genre, was thematic; The pathos of the revolution and the joy of a new life dominated, which was contrasted in bright contrast with the difficult past. Therefore, expressive political poetry, which has artistic and, above all, propaganda significance, developed predominantly. In the poems of S. Seifullin and I. Dzhansugurov, an attempt was made to assess the new reality in a broad epic generalization. The satirical poetry of S. Donentaev, the dramatic work of Zhumat Shanin (1891-1938), the prose of S. Seifullin, V. Mailin and Mukhtar Auezov (1897-1961) are valuable.
Fundamental to further development Kazakh Soviet literature was founded by the Union of Writers of Kazakhstan (1934). The main theme of the rapidly developing prose in these years was the depiction of socialist labor and its creators, the depiction of collectivization (G. Musrepov) and industrialization (S. Mukanov and S. Erubaev). During the Second World War, literature, especially the songs of Dzhambul Dzhabayev, played an important role in the patriotic education of the masses. After the war, prose began to develop as a leading genre. Famous writers whose work began much earlier are Gabiden Mustafin (born in 1902), Askar Tok-Magambetov (born in 1905), Abdilda Tazhibaev (born in 1909), Kasym Amanzholov (1911-1955) , Tair Zharokov (1908-1965), Gali Ormanov (born in 1907), Syr-bai Maulenov (born in 1922), Olzhas Suleimenov (born in 1936), etc. Thanks to the novel - the epic “The Path of Abai” by M. Auezov and the novels of G. Mustafin, Kazakh Soviet literature acquired significance in world literature.
Fiction. Beginning of the 20th century - a special period in the history of Kazakh literature. The modern literary Kazakh language is taking shape, new stylistic forms are emerging, Kazakh writers are mastering new genres.
One of prominent figures literature of the early 20th century. - Akhmet Baitursyn. He was born on January 28, 1873 in the Sartubek tract of Torgai district, in the family of the influential Kazakh sardar (ancestor) Baitursyn Shoshakuly. Akhmet's father, who actively fought the colonial authorities, was convicted in 1885 of armed resistance to the district authorities and, together with his brothers, was exiled to hard labor. Left without a father and immediate family. Akhmet, with great difficulty, completed the course at the Torgai School and went to Orenburg to continue his education. Since 1895, Akhmet Baitursyn has been engaged in teaching and literary activities. His first poetic works were translations of Krylov’s fables; the collection “Kyryk Mysal”, which went through several editions, was very popular among the Kazakhs. In Orenburg in 1911, a collection of poems by A. Baitursyn “Masa” was published. He also wrote a number of articles about the Kazakh language, where he advocates the purity of the language, its liberation from Russian and Tatar words. Akhmet Baitursyn can be called the founder of Kazakh linguistics.
A major phenomenon of Kazakh literature at the beginning of the 20th century. — Myrzhakyp Dulatuly, born on November 25, 1885 in the Sarykopa volost of Torgai district. Myrzhakyp studied at the village mekteb, a Russian school, and then continued his education on his own. Thanks to hard work, he perfectly mastered the Russian language and studied the works of Russian and foreign writers.
Dulatuly is known as a poet and prose writer; he is the author of several poetry collections and the first Kazakh novel “Unhappy Zhamal” (1910). The novel aroused great interest among Russian critics and the Kazakh public, and went through two editions. In addition to original works, Myrzhakyp Dulatuly was involved in translations of Pushkin, Lermontov, Krylov, and Schiller. He was a tireless innovator and reformer of the Kazakh literary language, introducing new words and concepts into his works.
The work of Magzhan Zhumabai (1893-1937) occupies a special place in Kazakh poetry. The introduction of new poetic forms into Kazakh versification is associated with his name. It can be said with good reason that Magzhan’s stylistic system actually dominates the stylistic structure of the modern Kazakh language. His influence on Kazakh poetry is comparable only to the influence of Abai.
Magzhan began writing poetry at the age of 14; his works were published in almost all newspapers and magazines in the Kazakh and Tatar languages. In 1912, the first collection of his poems “Sholpan” was published in Kazan.
At the beginning of the 20th century. The creative path of the talented Kazakh prose writer and playwright Zhusipbek Aimauytuly (1889-1931) begins. After graduating from the aul mekteb, he continued his education at the Russian-Kazakh school, and in 1914. entered the Semipalatinsk Teachers' Seminary. His main works were created in Soviet era, although in 1917 he already collaborated in the Abai magazine.
Left a significant mark in Kazakh literature talented writer and journalist Mukhamedzhan Seralyuly (1872-1929). He was born into the family of a famous akyn in the Kostanay region, studied at the Trinity Madrasah and the Kostanay two-year Russian-Kazakh school. In 1900, his first book, “Top Jargan,” was published, and in 1903, “Gulgashima.” In 1914 Mukhamedzhan translated the poem “Rustem - Zorab” from “Shahname” by Ferdowsi. However, his main activity was not literary, but journalistic. The magazine "Aikdp", of which he was the editor-in-chief, became a significant phenomenon in the cultural life of Kazakhstan of this period.
By the beginning of the 20th century. refers to the work of Spandiyar Kobeev (1878-1956), born in the Mendygarinsky district of the Kostanay region. Kobeev’s creative path began with the translation of works by Russian writers. In 1910, a collection of I. Krylov’s fables translated by him was published. The novel “Kalym”, published in 1913, was a significant event in the history of Kazakh literature.
One of the prominent figures of Kazakh literature at the beginning of the 20th century. was Sultanmakhmud Toraigyrov (1893-1920). He was born in Bayan-aul, educated in the mekteb and Trinity madrasah. In 1913-1914 Toraigyrov collaborated in the magazine "Aykap", where he published his first poems and stories, which gravitated mainly to the topic social inequality. Then he begins work on the novel “Kamar Sulu”.
Philosophical and ethical literature. It received great development at the beginning of the 20th century. philosophical and ethical literature, the most prominent representatives of which were Shakarim Kutsayberdyuly, Muhammad Salim Kashimov, Mashgur-Zhusup Kopeiuly.
A special role in the development of Kazakh philosophical thought belongs to Shakarim Kutsayberdyuly (1858-1931). Shakarim, nephew of Abai Kunanbayuly, was born on July 11, 1858 in the Shyn-gys mountains. Shakarim was a religious philosopher, but unlike the scholastic school, he tried to substantiate the basic tenets of Islam using the rational (logical) method.
In the preface to his poetic translation of the novel “Dubrovsky,” Shakarim names his teachers: Byron, Pushkin, Lermontov, Nekrasov, Hafiz, Nauai, Fuzuli, Kant, Schopenhauer, etc. The first philosophical work there was a work “Musylman-shyldyk, sharttars”, published in Orenburg in 1911. In the same year, “Genealogy of the Turks, Kirghiz, Kazakhs and Khan dynasties” was published - one of the first works on the history of the Kazakhs.
However, Shakarim left us not only philosophical and historical works, but also a huge number of poems, poems and prose works. It can be said with good reason that Shakarim Kudaiberdyuly is one of the most significant figures in Kazakh literature of the early 20th century.
A prominent representative of the clerical-philosophical direction of Kazakh literature was Mashgur-Zhusup Kopeyuly (1858-1931). In 1907, three of his books were published in Kazan: “An amazing phenomenon I saw in my long life,” “The situation,” “About whose land is Saryarka.” In them, the author sharply spoke out against the colonial policy of Russia, the resettlement of peasants to Kazakhstan, and calls on the Kazakhs to be more actively involved in political life countries.
In his unpublished works, Mashgur Zhusup interpreted a number of moral and ethical categories; his philosophical works played a certain role in the development of Kazakh philosophical thought.
Mukhamed Salim Kashimov was also a representative of religious philosophy. In his works “Politeness”, “Agitation”, “Book of Reason”, “Instruction to the Kazakhs” he gives pedagogical instructions and sets out his philosophical and socio-political views. In addition to purely philosophical works, Kashimov wrote the story “Sad Maria” (1914), in which the author condemns the customs of marriage, when girls are married off without their consent.
Makysh Kaltaev, Tair Zhomartbaev, Sabit Donentaev and other writers and poets left a big mark on Kazakh literature.
In general, the beginning of the 20th century. became a period of special flourishing of Kazakh written literature, which absorbed the best features of Kazakh, Eastern and European literature. At this time, the foundations of modern Kazakh literature were laid, and the literary language.
KAZAKH LITERATURE– literature in the Kazakh language, created by Kazakh authors on the territory of Kazakhstan from about the 15th century.
In its modern form, the Kazakh language was formed and acquired its own grammar in the 19th–20th centuries, but the roots of oral folk art go back to the deep past. The forerunners of Kazakh literature can be considered the authors of medieval works in Persian and Chagatai.
Kazakh language belongs to Turkic group, in particular to the Oguz-Uyghur group and to the later Kipchak. In addition, in some areas, the Sogdian language of the Iranian linguistic group, as well as Arabic, was preserved for a long time. In the 5th–6th centuries. Turkic-speaking peoples already used runic writing on wooden tablets.
As Chinese chronicles of the 6th–8th centuries testify, the Turkic-speaking tribes of Kazakhstan by that time already had an oral poetic tradition dating back to more early period. Legends and traditions about the sacred land of Otuken have been preserved. Dreams of a peaceful life were reflected in the legends about the fabulous Yergen-Kong mountain valley, inaccessible to enemies. Elements of epic poetry (epithets, metaphors) are found in the Orkhon monuments - the texts of the tombstone steles of Kultegin and Bilge Kagan, telling about the events of the 5th–7th centuries. Kultegin's inscription preserves the motif of ancestral ritual poetry, which later turned into epic - mourning for the deceased.
On the territory of Kazakhstan, well-known ancient epics in Turkic languages – Korkyt-Ata And Oguz-name. Orally distributed epic Korkyt-Ata, which arose in the Kipchak-Oguz environment of the Syr Darya basin in the 8th–10th centuries, was recorded in the 14th–16th centuries. Turkish writers in the form Books by grandfather Korkut. Korkut – real face, bek of the Oguz-Kypchak tribe Kiyat, considered the founder epic genre, the art of healing and music for kobyz. The epic consists of 12 poems and stories about the adventures of Oguz heroes and heroes. The Usun and Kangly tribes are mentioned.
Ogyz Kagan (Oguz Khan), who had supernatural power, - hero of the epic Oguz-name, recorded in the 13th century. Rashid ad Din and later, in the 18th century, Abulgazy. The poem is dedicated to the childhood of Ogyz Kagan, his exploits, victories over the giant, marriage and the birth of sons, whose names are the Sun, Moon, Star, Sky, Mountain, Sea. Having become the ruler of the Uighurs, Ogyz Kagan wages wars with Altyn (China) and Urum (Byzantium), the essay discusses the origin of the Slavs, Karlyks, Kangars, and Kipchaks.
Throughout the existence of the Kazakh poetic tradition until the 20th century. its obligatory figure was the folk poet-improviser akyn, thanks to which the epic works, fairy tales, songs, poems. Kazakh folklore includes more than 40 genre varieties, some of which are characteristic only of it - petition songs, letter songs, etc. Songs are divided into pastoral, ritual, historical and everyday. Poems can also be divided into heroic ones, telling about the exploits of heroes - Koblandy, Er-Targyn, Alpamys, Kambar-batyr etc. and lyrical, chanting selfless love heroes, - Kozy-Korpesh and Bayan-Slu, Kyz-Zhibek etc.
In the 11th–12th centuries. the first major works appear at the Karakhanid court - a poem Kutatgu bilik(Graceful knowledge) (1069) by Yusuf Khas-hajib from Balasagun (b. 1015), consisting of 13 thousand couplets. The poem is structured in the form of dialogues, sayings, and edifications. It is based on episodes and legends of the Zhetysu regions, the Issyk-Kul Lake basin and Kashgaria, its acting characters– real historical figures. The main idea of the poem: knowledge is the only source of well-being for both rulers and people.
Among the nomadic Turkic-speaking tribes of Kazakhstan until the 19th–20th centuries. the unique monotheistic religion of Tengrism (the supreme god Ten-Gri - the sky, the power that rules the world), the cult of mountains - the patrons of the clan, as well as shamanism - were preserved. In the 6th–9th centuries. Buddhism came to the Kazakh steppes ( cm. BUDDHA AND BUDDHISM), the beginnings of Christianity and Manichaeism. The beliefs of the population of medieval Kazakhstan were distinguished by diversity and syncretism. However, starting from the 9th century. the picture is gradually changing. Nomadic pastoralists continue to profess the cult of Ten-Gri, and in settled agricultural areas Islam spreads, and religious literature begins to develop.
During the period of the spread of Islam, the literary language remained variegated and heterogeneous; written literature developed mainly in cities. The works of dervish poets and writers played a significant place in the cultural life of the urban population. One of the most famous was the son of a steppe musician, preacher of Islam Khoja Akhmet Yasawi (d. 1167), author of a collection of poems with religious and mystical content Divani Hikmet(Book of Wisdom). In his work, Yassawi preached asceticism and humility, believing that the path to truth is the path to God. The book contains a lot of cultural, historical, ethnographic information about the tribes of that time. Yassawi's student Suleimen Bakyrgani is the author of the collection Zamu Nazir Kitaby(Book about the end of the world). It tells that during the end of the world everything that exists will perish, but God will create the world again and everything will be reborn again. The books of Yassawi and Bakyrgani were compulsory over the following centuries teaching aid in madrassas of Central Asia and Kazakhstan. Hibat ul-Hakayk(Gift of Truth) – the only book by Azib Akhmet Mahmud-uly Yugnek (late 12th century) called for a decent life, hard work, the pursuit of knowledge and humanity.
Most early works oral folk art, whose authorship can be considered established, dates back to the 15th century. In the 16th century the works of the legendary Asan-Kaigy and the akyns of Dospambet and Shalkiiz were well known in the 17th century. - Akyn of Bukhara-zhyrau Kalkamanov, author of poignant political poems. In Kazakhstan, a tradition has developed of holding song and poetry competitions between akyns - aitys. Genres of songs began to stand out: tolgau - philosophical reflection, arnau - dedication, etc. In the 18th–19th centuries. In the works of akyns Makhambet Utemisov, Sherniyaz Zharylgasov, Suyunbay Aronov, new themes appear - calls for a fight against bais and biys. At the same time, akyns Dulat Babataev, Shortanbai Kanaev, Murat Monkeyev represented a conservative trend, idealizing the patriarchal past and praising religion. Akyns of the 2nd half of the 19th century. Birzhan Kozhagulov, Aset Naimanbaev, poetess Sara Tastanbekova, Dzhambul and others used aitys as a form of expression public opinion, standing up for social justice.
Kazakh written literature in its modern form began to take shape only in the 2nd half of the 19th century. influenced by contacts and dialogue with Russian culture. At the origins of this process are the Kazakh educators Chokan Valikhanov, Ibray Altynsarin and Abai Kunanbaev.
Chokan Valikhanov (1835–1865) was the first Kazakh scientist, educator, historian, ethnographer, traveler and diplomat. The great-grandson of Khan Ablai, he was born into a pro-Russian oriented family, taught at a Kazakh school Arabic and became acquainted with oriental poetry and literature. Graduated from Omsk cadet corps, which was a kind of Tsarskoye Selo Lyceum for the Asian part of Russia. Upon graduation, he was promoted to cornet, wore a Russian military uniform, being a Russian officer and official, carried out orders from the tsarist administration.
His duties included the functions of a historiographer and participation in expeditions to Issyk-Kul, Gulja, Kashgar, during which Valikhanov kept his travel diaries, on the basis of which essays were written about the Kyrgyz (as the Kazakhs were called in the 19th century) - about their history , social tribal structure, morals and customs, myths and legends ( Notes on the Kirghiz).
He was the first to record and translate part of the heroic epic into Russian Manas – Death of Kukotai Khan and his commemoration And, folk epic poem Kozy-Korpesh and Bayan-Sulu. In his works, Valikhanov paid a lot of attention to the peculiarities of the improvisational art of akyns and the rhythm of Kazakh verse. A number of his studies are devoted to the study of the Zoroastrian roots of the Kazakh mentality and the syncretism of shamanism with Islam among the steppe peoples – Traces of shamanism among the Kyrgyz(Kazakhs),About Islam in the steppe. In the spring of 1861 it was published Sketches of Dzungaria , as well as major works devoted to the history and culture of Central Asia and the East ( Kyrgyz genealogy, About the nomads of the Kyrgyz, Traditions and legends of the great Kyrgyz-Kaisat horde etc.).
Living in St. Petersburg in 1860-1861 and continuing to work on essays on the history and ethnography of the Kyrgyz, he became closely acquainted with the ideas of the Russians revolutionary democrats, communicates and is friends with many representatives of the advanced democratic intelligentsia - F.M. Dostoevsky, S.V. Durov, I.N. Berezin, A.N. Beketov. On the recommendation of P.P. Semenov-Tyan-Shansky, he was accepted as a full member of the Imperial Russian Geographical Society.
Remaining an idealist in his understanding of social life, Valikhanov condemned the arbitrariness of the Kazakh feudal lords and the colonialist policy of tsarism, and spoke out for introducing the Kazakhs to Russian culture.
Ibray Altynsarin (1841–1889) also graduated from the Russian-Kazakh school, worked as a translator in Orenburg, as a teacher and school inspector. At the same time, he sought to open as many Russian schools for Kazakh youth as possible. In 1879, his Initial Guide to Teaching the Kyrgyz Language the Russian Language and the Kyrgyz Reader, which included many of his stories and poems, as well as works by Russian authors translated into Kazakh, were published. His literary activity was of an educational nature and was part of social and pedagogical practice. In works Ignorance, To the treacherous aristocrat he condemned fanaticism and superstition, revealed the reactionary essence of the mullahs, Kipchak Seytkul And Wooden house and yurt convinced pastoralists to engage in farming, in The son of the bei and the son of the poor contrasted the hard work of the poor with the stinginess and greed of the rich. In poems Spring And Autumn For the first time in Kazakh poetry, Altynsarin realistically described the Kazakh landscape and pictures of nomadic life. He also wrote about the powerless position of women in traditional Kazakh society. How a folklorist recorded and published fairy tales Kara batyr ,Altyn-Aidar, legend Zhirenshe-wit, excerpt from the epic Koblandy and much more.
The champion of friendship with the Russian people, the founder of realistic literature, poet and thinker Abai Kunanbaev (1845–1904) was the successor of Valikhanov’s work. His work determined the cultural and educational movement of the late 19th and early 20th centuries and had a huge impact on the subsequent development of the Kazakh literary language.
Kunanbaev received a classical oriental education. In the madrasah of Imam Ahmet-Riza he studied Arabic, Persian, and others oriental languages, became acquainted with classical Persian literature - Ferdowsi, Nizami, Saadi, Hafiz, etc. At the same time, violating the ban on the madrasah, he attended a Russian parish school. At the age of 28, he retired from performing the administrative functions of the head of the clan, completely devoting himself to self-education. Abai writes poetry, intensively studies Russian culture, and studies in the public library. Acquaintance with Russian political exiles had a strong influence on the formation of the poet's progressive worldview. He translates into Kazakh the works of A.S. Pushkin, M.Yu. Lermontov, I.A. Krylov, foreign classics, writes Kazakh songs to the words of excerpts from Eugene Onegin. The most famous is his elegy, set to music, Karangi tunde tau kalgyp– poetic translation by Lermontov Night Song of the Wanderer Goethe.
Abai’s literary heritage consists of poems, poems, poetic translations and adaptations, and prose “edifications.” His poetry is distinguished by classical simplicity and grace. artistic techniques. He introduces new poetic forms - six-line and eight-line: A moment falls out of time (1896),Shouldn't I, dead, become clay? (1898),On the water, like a shuttle, the moon (1888),When the shadow becomes long (1890), etc. His poetry is characterized by deep philosophical meaning and civic sound. In poems Oh my Kazakhs ,Octagons, That's old age. Sorrowful thoughts, a little sleep...,I'm exhausted, I'm deceived by everyone around me... criticism of feudal foundations sounds. In a collection of artistic and philosophical prose Gaklia(Edifications), touches on historical, pedagogical and legal topics, calls on the people to take the path of cultural progressive development, hard and honest work. Poems dedicated to the seasons are widely known.
Early 20th century became the heyday of Kazakh literature, which absorbed the features of Kazakh, Eastern and European literatures. At this time, the foundations of modern Kazakh literature were laid, and the literary language was finally formed.
Akhmet Baitursyn (1873–1913) was engaged in pedagogical and literary activities - he translated Krylov’s fables, published a collection of poetry popular among Kazakhs Kyryk Mysal and collection Masa (1911). Baitursyn can be called the first Kazakh linguist - he wrote articles in which he advocated the purity of the Kazakh language, its liberation from Russian and Tatar words.
The emerging Kazakh literature mastered major literary forms - novels, stories. Poet and prose writer Myrzhakyp Dulatuly (1885–1925) - author of several poetry collections and the first Kazakh novel Unhappy Jamal(1910), which went through several editions and aroused great interest among Russian critics and the Kazakh public. He also translated Pushkin, Lermontov, Krylov, Schiller into Kazakh, and was an innovator and reformer of the Kazakh literary language. Spandiyar Kobeev (1878–1956) is known as a translator of Krylov's fables and the author of one of the most significant Kazakh novels Kalym (1913).
Writer and journalist Mukhamedzhan Seralyuly (1872–1929), known for his works Top Jargan (1900),Gulgashima(1903), translation of the poem Rustem-Zorab from Shahnameh Ferdowsi, was the editor-in-chief of the magazine “Aykap” (1911–1915), around which progressive creative forces were grouped. Sultanmakhmud Toraigyrov (1893–1920), who collaborated with the magazine, wrote poems and stories on the topics of inequality, he is the author of the novel Kamar Sulu. The magazine also published Sultan-Makhmut Toraigyrov, Sabit Donentaev, Tair Zhomartbaev and others.
The name of Magzhan Zhumabay (1893–1937) is associated with the introduction of new poetic forms into Kazakh versification, and into the Kazakh literary language - a stylistic system that has been preserved to this day. He began writing poetry at the age of 14 and was published in almost all newspapers and magazines in the Kazakh and Tatar languages. IN 1912 His poetry collection Sholpan was published in Kazan.
Shakarim Kudaiberdyuly (1858–1931), nephew of Abay Kunanbayev, was a religious philosopher who attempted to treatise Muslim-shyldyk,sharttars (Orenburg, 1911) justify the tenets of Islam using the logical method. In the same year, he published one of the first works on the history of the Kazakhs - Pedigree of the Turks, Kyrgyz, Kazakhs and Khan dynasties . Shakarim was the author large number poems, poems and prose works. He translated it into poetry Dubrovsky Pushkin, considered Byron, Pushkin, Lermontov, Hafiz, Navoi, Kant, Schopenhauer his teachers.
Religious philosopher Mukhamed Salim Kashimov, known for his works Politeness ,Agitation ,Advice to the Kazakhs ; was also the author of the story Sad Mariam (1914), which condemned the custom of marrying off girls without their consent. In three books published in 1913 Mashgura-Zhusupa Kopeiuly (1858–1931),An amazing phenomenon I saw in my long life ,Position And About whose land is Saryarka the author speaks out sharply against Russian policies and the resettlement of Russian peasants to Kazakhstan.
At the end of the 19th - beginning of the 20th centuries. a group of “scribes”, which included Nurzhan Naushabaev, Mashur-Zhusup Kopeev and others, preached patriarchal views and collected folklore. Nationalist forces grouped around the newspaper “Kazakh” (1913) - A. Baitursunov, M. Dulatov, M. Zhumabaev, who after 1917 moved to the counter-revolutionary camp.
After the October Revolution, social motives and themes of socialist construction actively developed in the works of akyns Dzhambul Dzhambaev, Nurpeis Baiganin, Doskey Alimbaev, Nartay Bekezhanov, Omar Shipin, Kenen Azerbaev.
During the Soviet period greatest fame In the USSR, the work of the Kazakh folk poet-akyn Dzhambul Dzhambaev (1846–1945), who sang to the accompaniment of a domra in the tolgau style, acquired. Epics were written from his words Suranshi-batyr , Utegen-batyr , fairy tales Khan and akyn,The Tale of the Lazy Man etc. After the October Revolution in creativity Dzhambula new topics have appeared - Hymn to October, My Motherland, In the Lenin Mausoleum,Lenin and Stalin(1936). His songs included almost all the heroes of the Soviet power pantheon; they were given the features of heroes and heroes. Dzhambul's songs were translated into Russian and the languages of the peoples of the USSR, received a nationwide calling and were fully used Soviet propaganda. During the Great Patriotic War, Dzhambul wrote patriotic works calling Soviet people to fight the enemy - Leningraders, my children!, At the hour when Stalin calls(1941), etc. In 1941 he became a laureate of the Stalin Prize.
Combining oral forms with literary ones, Dzhambul developed a new poetic style, different psychological saturation, the concreteness of the depiction of public life, the sincerity and simplicity of the narrative.
The founders of Kazakh Soviet literature were the poets Saken Seifullin (poems Sovetstan ,Albatross , Socialistan , stories Diggers , Fruit ), Baimagambet Iztolin, Ilyas Dzhansugurov (poems Steppe , Musician , Kulager ), writers Mukhtar Auezov ( Night rumbles ), Sabit Mukanov (socio-historical novel Botagoz(Mysterious Banner)), Beimbet Maylin (story Communist Raushan, novel Azamat Azamych).
In 1926, the Kazakh Association of Proletarian Writers was created, which in the first years of its existence fought against nationalist manifestations in literature. The almanac “Zhyl Kusy” (“The First Swallow”) (since 1927) and the magazine “Zhana Adabiet” (“Zhana Adabiet”) began to be published. New literature") (since 1928). In 1934, the Writers' Union of Kazakhstan was created, and later sections of Russian and Uyghur writers began to work within it.
The first to respond to the events of the Patriotic War in Kazakh literature was civil-patriotic poetry - the poem by K. Amanzholov The Legend of the Death of a Poet (1944) about the feat of the poet Abdulla Dzhumagaliev who died near Moscow, poems by Tokmagambetov, Zharokov, Ormanov and others. After the war, novels appeared Soldier from Kazakhstan Musrepova (1949), Courland Nurneisova (1950), Terrible days Akhtapov (1957), memoirs of Momyshuly Moscow is behind us (1959).
In 1954, Mukhtar Auezov completed a tetralogy, an epic novel, that received a response in many countries. Abai's path. Post-war Kazakh literature mastered large forms of the “big” Soviet style, gravitating towards large-scale literary forms - novels, trilogies, poems and novels in verse (Mukanov, Mustafin, Shashkin, Ergaliev, Kairbekov, Muldagaliev, etc.). Drama (Khusainov, Abishev, Tazhibaev) and science fiction (Sarsekeev, Alimbaev) developed.
In the 1970s, the attention of readers was attracted by the book of the Kazakh poet and writer Olzhas Suleimenov (b. 1936 )Az and I (1975), known for his collections Good sunrise time (1961),Over white rivers (1970),Repeating at noon (1975). In it, he developed ideas about the kinship of the Kazakhs and ancient Sumerians, drew attention to large number words of Turkic origin in the Russian language, which indicated, in his opinion, the strong influence of Turkic culture on Russian. IN lively discussion which unfolded in the press, Suleimenov was accused of “pan-Turkism” and nationalism.
The late 1990s - early 2000s, the literature of Kazakhstan is characterized by attempts to comprehend postmodern Western experiments in literature and the possibility of using techniques of deconstruction and “thickening” of the text (see POSTMODERNISM IN LITERATURE) - B. Kanapyanov, D. Amantai. The works of famous and little-known authors - Smagul Saduakasov, Kokserek and other short stories by M. Auezov, End of the legend, abyss, Bay horse Abisha Kekilbaya, Time of Troubles, Death of a Greyhound Mukhtar Magauin, stories by Oralkhan Bokey.
The literature of Kazakhstan continues to develop in the context of global civilization, absorbing and developing new cultural trends, taking into account its own capabilities and interests.
Literature:
Zelinsky K. Dzhambul. M., 1955
Creativity of Dzhambul. Articles, notes, materials. Ed. N. Smirnova. Alma-Ata, 1956
Auezov M.O. Abay. Tt. 1–2. M., 1958
Karataev M., Born of October. Alma-Ata, 1958
Akhmetov Z.A. Kazakh versification. Alma-Ata, 1964
History of Kazakh literature, vol. 1–3, Alma-Ata, 1968–1971
Begalin S. Chokan Valikhanov. M., 1976
Mukanov S. Steppe friends. Alma-Ata, 1979
Zalessky K.A. Stalin's Empire. M., Veche, 2000
centuries, already by this time the Turkic-speaking tribes of Kazakhstan had an oral poetic tradition dating back to an earlier period. This is also confirmed by various elements of epic poetry (epithets, metaphors and other literary devices) found in the Orkhon monuments - the texts of the tombstone steles of Kultegin and Bilge Kagan, telling about the events of the 5th-7th centuries.
Epics “Korkyt-Ata” and “Oguzname”
On the territory of modern Kazakhstan, the most famous ancient epics in the Turkic languages - “Korkyt-Ata” and “Oguzname” - developed. The epic “Korkyt-Ata”, which was spread orally, arose in the Kipchak-Oguz environment in the Syrdarya River basin around the 8th - 10th centuries. , was recorded in the XIV-XVI centuries. Turkish writers in the form of “The Book of Grandfather Korkyt”. In reality, Korkyt is real person, bek of the Oguz-Kypchak tribe Kiyat, who is considered the founder of the epic genre and musical works for kobyz. The epic “Korkyt-Ata” consists of 12 poems and stories about the adventures of Oguz heroes and heroes. It mentions such Turkic tribes like the Wusun and the Kangly.
The poem “Oguzname” is dedicated to the childhood of the Turkic ruler Oguz Khan, his exploits and victories, marriage and the birth of sons, whose names were Sun, Moon, Star, Sky, Mountain and Sea. Having become the ruler of the Uyghurs, Oguz waged wars with Altyn (China) and Urum (Byzantium). This work also discusses the origin of the Slavs, Karluks, Kangars, Kipchaks and other tribes.
Heroic and lyrical poems
It is no secret that since the birth of the Kazakh poetic tradition, its main and indispensable figure has been the national poet-improviser - akyn. It is thanks to the akyns that numerous epic works, fairy tales, songs, and poems written several centuries ago have come down to us. Kazakh folklore includes more than 40 genre varieties, some of which are characteristic only of it - petition songs, letter songs, etc. Songs, in turn, are divided into shepherd, ritual, historical and everyday songs. Poems can also be divided into heroic, that is, telling about the exploits of heroes (“Kobylandy Batyr”, “Er-Targyn”, “Alpamys Batyr”, “Kambar Batyr”, etc.), and lyrical, glorifying the selfless love of heroes (“Goats- Korpesh and Bayan-Sulu", "Kyz-Zhibek").
Beginning of the 20th century became the heyday of Kazakh literature, which absorbed many features of European literature. At this time, the foundations of modern Kazakh literature were laid, the literary language was finally formed, and new stylistic forms appeared.
The emerging Kazakh literature mastered large literary forms that were still unfamiliar to Kazakh writers - novels and stories. At this time, the poet and prose writer Mirzhakip Dulatov, the author of several poetry collections and the first Kazakh novel “Unhappy Jamal” (), which went through several editions and aroused great interest among Russian critics and the Kazakh public, gained great fame. He also translated Pushkin, Lermontov, Krylov, Schiller, and was a reformer of the Kazakh literary language.
IN late XIX- early 20th century a group of “scribes”, which included Nurzhan Naushabaev, Mashur-Zhusup Kopeev and others, actively preached patriarchal views and collected folklore material. Nationalist forces were grouped around the Kazakh newspaper - Akhmet Baitursynov, Mirzhakip Dulatov, Magzhan Zhumabaev, who after 1917 went over to the counter-revolutionary camp.
Creativity of Zhambyl Zhabayev
During the Soviet period, the work of the Kazakh folk poet-akyn Zhambyl Zhabayev, who sang to the accompaniment of a dombra in the tolgau style, became most famous in the USSR. Many epics were written down from his words, for example, “Suranshi-batyr” and “Utegen-batyr”. After the October Revolution, new themes appeared in Dzhambul’s work (“Hymn to October,” “My Motherland,” “In the Lenin Mausoleum,” “Lenin and Stalin”). His songs included almost all the heroes of the Soviet power pantheon; they were given the features of heroes and heroes. Zhambul's songs were translated into Russian and the languages of the peoples of the USSR, received nationwide recognition and were fully used by Soviet propaganda. During the Great Patriotic War, Zhambyl wrote patriotic works calling the Soviet people to fight the enemy (“Leningraders, my children!”, “At the hour when Stalin calls,” etc.)
Literature of the second quarter of the 20th century
The founders of Kazakh Soviet literature were the poets Saken Seifullin, Baimagambet Iztolin, Ilyas Dzhansugurov, and the writers Mukhtar Auezov, Sabit Mukanov, Beimbet Mailin.
Contemporary Kazakh literature
The literature of Kazakhstan in the late 1990s and early 2000s can be characterized by attempts to comprehend postmodern Western experiments in literature and use them in Kazakh literature. Also, many works of famous and little-known Kazakh authors began to be interpreted in a new way.
Now the literature of Kazakhstan continues to develop in the context of global civilization, absorbing and developing new cultural trends, taking into account its own capabilities and interests.
See also
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The revolutionary movement of the early 20th century in Russia affected the situation of the national outskirts, including Kazakhstan. A small national intelligentsia, taking advantage of this situation, began the struggle for independence and freedom, for the awakening of the people from a centuries-old sleep, for deliverance from double oppression: the colonial yoke of tsarism and local patriarchal-tribal violence. The intelligentsia led the people onto the path of independence, agitated for the mastery of knowledge, science, and art. In this process, Kazakh literature played an important role, contributing to the reflection of the life of the Kazakh people and the protection of their interests. The leading part of Kazakh writers and poets, continuing the educational, democratic traditions of Abai, tried to link them with the idea of the fight against colonialism. The revolutionary-democratic orientation of the literary, creative, socio-political activities of Akhmet Baitursynov and Mirzhakyp Dulatov, who stood at the head of the national movement, is obvious. They attached special significance to the national liberation idea not only in their creative work, but also in their socio-political activities. This is confirmed by their participation in the nationwide revolution of 1905, the demand for independence of the Kazakhs at the congress of the constitutional democratic party, the purposeful development of this idea on the pages of the Kazakh newspaper (1913-1918), as well as the attempt to create Alash autonomy after the fall of tsarism.
Akhmet Baitursynov (1873-1937) is a poet who enriched Kazakh literature of the early 20th century with the idea of the struggle for freedom and independence. His poetry collection “Masa” (Orenburg, 1911) is dedicated to the difficult, powerless situation of the people, their liberation from colonialism, backwardness in development, ignorance, on the other hand, the work is a call for knowledge, science, and culture. The poet’s great desire is to awaken in his compatriots a sense of high citizenship. If in the lines:
Like migratory geese, we sought a cool refuge in the Sahara.
A reed fire raged around,
Is it possible to hide from the fiery stings?
describes the hopeless situation of the people, languishing under the colonial yoke, in the following lines:
It's like we're in a boat without oars
In a sea wide without edge.
The wind will blow, the waves will rise,
And we float, losing our bearings.
It is obvious that without independence and freedom the future of the nation is illusory and uncertain.
Having called his collection “Masa” (which means “Mosquito”), the poet put into the title certain meaning, trying to wake up the “sleeping” people, annoyingly and incessantly buzzing like a mosquito.
Oh, Kazakhs, my people.
Life is hard
But you are not broken. Livestock stolen
In the darkness of the soul, Wake up, open your eyes.
Have you really not had enough sleep? And is it time to sleep?
A. Baitursynov’s book “Forty Fables” (“Kyrykmysal”) (St. Petersburg, 1909) is a collection of works created on the model of Krylov’s fables. Taking the plots of Krylov’s fables as a basis, Baitursynov created original Kazakh fables with free translation, filling them with examples from Kazakh life. The fables ridicule the vices common among the Kazakhs and condemn social injustice.
Akhmet Baitursynov is a reformer of the Kazakh language. He created an alphabet based on Arabic script. Begun in 1912, this work was officially adopted in 1924 as "Zhana emle" ("New Rule"). Baitursynov wrote the textbook "Oku Kuraly" ("Reading") (1912) and "Til Kuraly" ("Language Textbook"), consisting of 3 parts: phonetics, morphology, syntax. Baitursynov’s textbooks were an innovation not only for the Kazakhs, but also for the entire Turkic-speaking world. Later he published methodological books “Bayanshy” (1920), “Ush Zhumsak” (1925). The first work on literary criticism, “Edebiet tanytkysh” (1926), also belongs to Baitursynov.
Mirzhakyp Dulatov (1885-1935) - a comrade-in-arms of Akhmet, who passed alongside him both during the years of the struggle for the freedom of the people and in literary field. His collection "Oyan, Cossack!" (“Wake up, Kazakh!” Kazan, 1909) is one of the first works where the problem of the fate of the people is raised acutely. Influencing the minds and hearts of his readers, he draws their attention to the responsibility of each individual to the people. Revealing the negative aspects of the life of contemporary Kazakh society, M. Dulatov calls on his compatriots to a new life, calls on them to learn good things from other peoples, and advocates for science, education, and equality of women:
Don't go astray
Liberty, equality and fraternity
If you are true to this,
Your human duty is clear.
These lines contain not only the humanistic position of Mirzhakyp, but also loyalty to his life program (“freedom”, “brotherhood”, “equality”).
"Oyan, Cossack!" From the time of its publication, it was perceived as a book directed against colonialism, its circulation was destroyed, and the author was persecuted and repeatedly imprisoned. However, this did not break the poet; he also actively continued his literary and journalistic activities. During this period, he published the novel “Unhappy Zhamal” (Orenburg, 1910), collections of works “Azamat” (Orenburg, 1913), “Terme” (Orenburg, 1915). Since 1913, living permanently in Orenburg, he, together with Akhmet Baitursynov, has been publishing the newspaper "Kazakh".
"Unhappy Zhamal" is the first Kazakh novel created. It describes the difficult fate of the girl Zhamal, who became a victim of patriarchal clan customs and prejudices. At the same time, the novel shows the conflict of the advancing new with the dying old, a clash of views younger generation with the guardians of age-old foundations. The novel is also attractive because it reveals the process of the emergence of freedom-loving ideas among young people.
M. Dulatov translated a number of works from Russian and European classics (Pushkin, Lermontov, Schiller, Tukay). Dulatov’s contribution to the development of Kazakh journalism is also invaluable.
The poet who made a huge contribution to the cause of independence, the development of the people along the path of progress and culture is Sultanmakhmut Toraigyrov (1893-1920). He wrote works of acute criticism, telling about unjust life, castigating ignorance and darkness. According to Toraigyrov, the people themselves create their own destiny; for this they need to wake up from their sleep, move forward and develop like other peoples. Showing solidarity with his brothers in the fight against colonialism, S. Toraigyrov in the poem "Tanystyru" ("Acquaintance", 1918) calls Sultanmakhmut Toraigyrov Dulatov, Baitursynov, Bukeikhanov, "sun", "dawn", "moon". Sultanmakhmut enriched Kazakh literature in terms of its artistic and aesthetic development. Along with this, he did a lot to form and develop new genres for Kazakh literature. His novels in verse “Beauty Kamar”, “Who is to blame?”, poems “Lost Life”, “Poor Man”, lyric poems, journalistic, critical articles reveal the diversity and versatility of his artistic quests.
Going beyond the framework of propaganda and appeal poems, he created lyrical poems about the nature and inner world of man, beautiful in depth and artistry. His major works feature the image of a hero who embodies new social views. The poet managed to expose the acute social problems of the development of Kazakh society, which still remained in the shackles of feudal-patriarchal foundations, vegetating in darkness and ignorance (“Who is to blame?”). His poems, based on philosophical understanding time, era, were bright and new examples of the genre of lyric-journalistic poem. Tall samples realistic art, laid down in Kazakh literature by Abai, we find in the works of Sultanmakhmut.
The works of Sabit Donentaev (1894-1933), Mukhamedzhan Seralin (1872-1939), Spandiyar Kubeev (1878-1956), Beket Utetileuov ( 1883-1949), Aripa Tanirbergenova (1856-1924), Gumar Karashev (1876-1921), Turmagambet Iztleuov (1882-1939), Berniyaz Kuleev (1899-1923), Narmambet Ormanbetov (1870- 1918) and others.
By developing and enriching poetic skills, they made a huge contribution to the artistic understanding of the era. If S. Donentaev developed the genre of poems with a small plot and fables, then S. Kubeev sought to reflect the truth of life in lyrical works. The creativity of S. Kubeev and B. Utetileuov was closely intertwined with pedagogical activity: both of them taught in aul mektebs. Widely using literature in raising children, writers created a number of works of new ideological content. This is how the novel “Kalym”, stories and poems intended for children by S. Kubeev were born. S. Kubeev and B. Utetileuov translated many works of Russian classics.
M. Seralin contributed not only to the development of Kazakh literature, but also to the development of contemporary journalism. The magazine "Aykap" published by him and his fellow writers (1911-1915) clearly and definitely supported the educational and democratic orientation of Kazakh literature. Seralin wrote poems and translated "Shahname" ("Rustam-Zurab") by Ferdowsi.
In his journalistic works on the pages of "Aykap" M. Seralin, criticizing patriarchal foundations, special attention devoted to the education of the people, their striving forward, the problem of the Kazakhs’ transition to a sedentary lifestyle. We see certain artistic solutions in the works of G. Karashev and N. Ormanbetov, where the essence of colonialism, the duality of the policy of governing the people, and the backwardness of life in Kazakh society are widely revealed. The author of several books ("Bala Tulpar", "Karlygash", "Aga Tulpar", "Turymtai", etc.) and philosophical reflections, Gumar Karashev acted as a bright, original poet, educator-philosopher, as an artist, faithful to the traditions of Sharia and honor . He met the February Revolution and the Alash movement with hope, believing in the freedom and independence of his people, and later showed solidarity with Soviet power. Narmambet drew in verse ("Sary-Arka", "Zaman", etc.) hard life people, especially manifested as a result of the resettlement policy of tsarism, when the Kazakhs began to lose their best lands and migrate from their native places.
Kazakh poets and writers of the early 20th century are far from equal in their orientation and artistic pursuits. As many talents as there are, they are so different. Many of them were united by revolutionary-democratic and educational-democratic ideas. Everyone who adhered to this direction tried to master advanced ideas literature of progressive peoples. At the same time, there was a whole group of poets who worked in pure national tradition using experience democratic literature East. They also criticized ignorance, the injustice of those in power, and the colonial policy of tsarism, but they did not see a way out of this impasse; they found a solution in a return to past “better” times. This group of poets includes Mashkhur Zhusup Kopeev (1858-1931), Nurzhan Naushabaev (1859-1919), Makysh Kaltaev (1869-1916). Their realistic works help us understand the truth of that era. The book by M. Zh. Kopeev "Who owns Sary-Arka?" (Kazan, 1907) was confiscated, and its publisher was subject to a heavy fine. The legacy of M. Zh. Kopeev preserved manuscripts consisting of works of oral folk art and works of Kazakh poets collected by him. The poetry of N. Naushabaev consists mainly of terme, where edifications and instructions prevail. In the work of M. Kaltaev, despite the wide coverage of life and era, there is still a lack of artistry in the image.
Another group of Kazakh poets paid special attention to dastans and hiss, composed under the influence of plots folk works, as well as creations of the East. These include Zhusipbek Shaikhiislamuly (1854-1936), Shadi Zhangiruly (1855-1933), Akylbek Sabauly (1880-1919). All of them had an excellent education and were experts in Arab-Persian literature and thoroughly knew the rich folklore of the people. They published their works either as “dastan” or “hissa” in the printing houses of Kazan, with which they were in close contact. Through these works, at the beginning of the 20th century, Hissa received widespread among the people. They played an important role in this interesting stories, the importance of the historical events described. Among these works are “Kyz Zhibek”, “Munlik-Zarlyk”, “Seyful-Malik”, “Kasym-Zhomart”, “Orka-Kulshe”, “Kharon ar Rashid”, “Kamar Zaman”, “Bozzhigit”, “Tahir- Zukhra", "Nazim" and others.
There were also poets who wrote about historical events in the life of the people and tried to give them a popular assessment. Here it is appropriate to recall the poem by Ygylman Shorekov (1871-1932) “Isatay-Makhambet”. The author does not seek to follow in detail the chronology of historical events, but tries to reveal the image of the batyr Isatay and his friend Makhambet. By dwelling only on the main stages of the uprising, the author was able to reveal its true reasons, show the indisputable authority of Issatay in resolving inter-clan conflicts, and the fearlessness of the hero in his skirmishes with Zhangir Khan.
During the period under review, the creativity of akyns-musicians, who continued the traditions of Kazakh literature and culture, occupied a prominent place. In the absence of theaters, concert halls, poet-musicians made a huge contribution to the development of the spiritual culture of the people, the enrichment of their theatrical and musical art. Adhering to the traditions of creativity of Birzhan, Ahan-sere, Mukhit, poet-musicians Zhayau Musa Baizhanuly (1835-1929), Baluan Sholak Baimyrzauly (1864-1919), Madi Bapi-uly (1880-1921), Mayra Ualikyzy (1896-1926), Imanzhusip Kutpauly (1863-1929), Aset Naimanbayuly (1867-1923), Ukili Ibrai Sandybai-Shakarim Kudaiberdievuly (1856-1932), Kenen Azerbaev (1884-1976). ) and others created new, democratic-oriented songs and songs. Their significant works glorified the beauty of life and contributed to the formation of high aesthetic feelings in listeners. At the same time, these works also addressed the problems of socially unjust organization of society, and calls were heard for liberation from the colonial yoke. Zhayau Musa, Baluan Sholak, Madi, Imanjusip, Ukili Ibrai experienced the oppression and persecution of the royal authorities. The activities of poets and musicians undoubtedly contributed to the development of truly folk songwriting. They created such classical works, like “Zhayau Musa”, “Kau-lalu”, “Galia”, “Karakesek”, “Maira”, “Imanjusip”, “Gakku”, “Boztorgay”, “Koksholak”. The legacy of poets and musicians is enormous and multifaceted. Here you can meet lyrical songs and dastans, and some poets, such as Aset, Kenen, participated in aitys.
A feature of the development of Kazakh literature at the beginning of the 20th century is its connection with the literatures of other peoples. The historical situation contributed to the strengthening of not only socio-economic ties, but also intensified the process of communication in the sphere of spiritual culture. In this movement, the Kazakh periodical press played a significant role, which began with the newspapers “Turkestan Ualayatyn Newspapers (1870-1882) and Dala Ualayatyn Newspapers (1888-1902). Translations from Russian and world literature were published on their pages. classics. Continuing the translation traditions of Abai, A. Tanirbergenov and A. Naimanbaev published excerpts from “Eugene Onegin” by A. Pushkin, created their own works on similar subjects, and published the book “The Captain’s Daughter” (translated by M. Bekimov, 1903). "Dubrovsky" (translated by Sh. Kudaiberdiev, 1912), as well as "Forty Fables" by A. Baitursynov (1909) and "Exemplary Education" by S. Kubeev (1910), B. Utetileuov translated the works of Pushkin, Lermontov, Zhukovsky, Pleshcheev, Krylov.
Translations from Russian, Eastern and Western European literature occupied a large place on the pages of the magazine "Aykap" and the newspaper "Kazakh". Among them one can name “Rustem-Zurab” (from “Shahname” by Ferdowsi - translated by M. Seralin), “The Prisoner of Chillon” by D. Byron (translated by A. Galimov), excerpts from “A Thousand and One Nights”, stories by L. Tolstoy and A. Chekhov. Thus, a wide road was opened for mastering the artistic experience of the world classical literature. The development of Kazakh literature at the beginning of the century was significantly influenced by the national liberation movement of 1916. The cause of the uprising was the royal decree on the mobilization of Kazakhs for rear work. The people, languishing under the burden of the colonialist yoke, having lost all hope of improving their lives, opposed their rulers. The rebellious people, led by such people's warriors as Amangeldy and Bekbolat, began to crack down on government officials. However, the uprising that began spontaneously, without an organized center of leadership, soon began to decline, and the tsarist soldiers continued to rampage for a long time. Folk literature has preserved many works about this uprising. They told about the plight of the people, about the oppression of tsarism, about the struggle for freedom, about the heroism of the rebel people and their leaders. Among the authors of these works one can name Sata Yesenbaev, Kuderi, Omar Shipin, Tuleu Kobdikov, Buzaubekov, Isa Daukebaev, direct participants liberation movement who experienced all the difficulties and vicissitudes of this struggle. The poets Omar and Kuderi created zhiry (historical songs) about the legendary Amangeldy, Isa - about Bekbolat. These works have taken their rightful place in the history of Kazakh literature. Their feature was new images folk heroes, specific historical events, problematic.
Some historical songs from the period of the national liberation movement of 1916 are devoted to describing the life of horsemen called up by royal decree. The dastan “Reception” by Birzhan Berdenov tells about the life of zhigits in their native village, about their unusual stay on foreign land, about the unjust nature of the imperialist war, about the growing dissatisfaction with the rule of the tsar and the spread of ideas for his overthrow and, finally, the removal of the tsar from the throne. There are also works written in the form of letters from horsemen from the front and responses to them. Folk poetry, born in 1916, filled with new content and enriched the folk-democratic orientation of Kazakh literature at the beginning of the 20th century.
The position of the Kazakh people under the colonial system of government continued to remain central problem in the development of literature of the subsequent period. Young talents who came to literature during this period, such as M. Zhumabaev, S. Seifullin, B. Mailin and others, began to publish their first works, continuing the democratic and educational traditions, enriching it with ideas of freedom.
Kazakh literature of the early 20th century was an artistic chronicle about the truth of life of the people of a given historical era.