Great people of Uzbekistan. History of Uzbek literature Uzbek poets of the Middle Ages

Formation Uzbek literature is closely connected with the ancient written monuments of the Turks, dating back to the 6th-8th centuries, especially to the period of the appearance of the first literary works in Turkic languages. The earliest examples that have come down to us are "Hikmat" by Ahmad Yassawi , his non-religious lyric-mystical works. At this time they appear secular works, such as, for example, "Sevgi qissasi" ("Poem of Love") Ali and the lyrical epic "Yusuf and Zulaikha" by Durbek. In 1330-1336. poet Qutb translated the world-famous dastan into Uzbek Azerbaijani classics Literature by Nizami "Khisrav and Shirin", and the poet Saifi - the famous novel in verse Saadi "Guliston" .

Further development of Uzbek literature associated with the names famous poets like Atoi, Saifi, Ahmad Hussaini, Amiri who worked in the 15th century. In their gazelles they sang of high human feelings. Poet Saccochi who created in Uzbek literature Qasida style, in his works sings the idea of ​​an enlightened, just ruler and glorifies one of the most prominent thinkers of the Middle Ages Ulugbek .

In the middle of the fifteenth century in literature appears genre of dialogue (munozara). So, in the wonderful works of this genre "Tanbur wa chang" by Ahmad and "Chogir wa bang" Yusuf Amiri in an allegorical form, the life and way of life of that time are revealed, in particular, the vices of individual Temurid rulers are exposed. An ardent opponent of despotism, a true singer of a healthy lifestyle, lyric poet Lutfi was the creator of the most remarkable ghazals in the Uzbek language. highly appreciated his work great Navoi , calling it "The King of Poetry" (she'riyat shokhi).

Undoubtedly, in the Middle Ages Uzbek literature reaches a culminating point of development through vigorous creative activity great Alisher Navoi . Having a huge impact on the whole world literature, especially on Literature of the Near and Middle East, Alisher Navoi took its rightful place in the line most prominent writers. In his wonderful work "Muhakamatul-lugatain", emphasizing the richness and completeness of the Uzbek language, he pointed out the need to write works of art in this language.

famous Hamsa (Five) Navoi includes poems "Khairat-ul Abror", "Leyli and Majnun", "Farhad and Shirin", "Sabboy Sayer" and "Iskander's Wall". You can add his beautiful dastan to them "Lison-ut-tair" ("Language of Birds"). Great poet and thinker not only created in these works, which were considered examples of high art, a number of beautiful images, but also provided unique ethnographic information. They raise the most urgent social problems, glorify humanistic ideas. However Alisher Navoi offers a utopian idea of ​​creating a just society led by a wise ruler, improving the situation of the people on a reasonable and humane basis.

At the end of the 15th - beginning of the 16th century, literary firmament Another bright star appears Zahiriddin Muhammad Babur . In his work, many contradictory moments characteristic of rulers were manifested. On the one hand, in some works he defends the feudal system, on the other hand, he condemns the vices of the same society and, contrary to the prevailing principles, preaches advanced humanistic ideas. In their lyric collections Zahiriddin Muhammad Babur sings with his usual skill love for the Motherland, noble human qualities, subtle feelings. In his world-famous "Baburname" highly artistic and historically truthful, his biography, information about campaigns in Afghanistan and India are presented in an original way, the life and culture of the peoples living there are described, pictures of nature and a description of some historical events are given. "Baburname" It has great importance not only as a historical and ethnographic source, but also as an example Uzbek memoir literature. it work published in many countries of the world, which indicates its uniqueness.

In the XVII-XVIII centuries, in the capitals of the Uzbek khanates, literary centers. Majority writers who took part in their activities graduated from local madrasas and traditionally wrote in two languages ​​- Uzbek and Tajik. At this time in Bukhara, Khiva and Kokand anthologies of poems by local poets appear, which testified to a new rise of Uzbek literature. For example, during the reign Muhammad Rahimkhana (1885-1910) in Khorezm at the palace appears literary center, which publishes poems by local authors, collected by Tabibi in a special anthology of poetry, which served as an important literary source that time. Naturally, the khan and his officials are sung in the works of court poets.

However, apart from courtiers poets and mystic poets, in Uzbek literature there was a place for people who came from the people - democratically minded progressive writers and poets. In their sharply satirical prose and poetry, they boldly expose the vices of their time, hypocrisy and hypocrisy, the insidious tricks of the khans and beks. Most of these writers lived in poverty and were persecuted. One of such brave defenders of the people and opponents of their oppressors during the reign Subkhankulikhan(1680-1702) was courageous Turdi (Farogi) .

Among democratic writers and poets, known for their deep and meaningful works, a special place is occupied by Babarakhim Mashrab (1654-1711). Living in poverty and wandering, this great person in his satirical lines mercilessly ridicules the oppressors of the people - feudal lords, beks and their lackeys. Mahmoud and Gulkhani also painted a true picture in their works plight broad masses of working people and boldly exposed injustice and violence.

One of the major representatives Uzbek literature during the period of Khan's rule was beautiful poet, translator and historian Muhammad Riza Ogakhi (1809-1874), known for his democratic ideas and progressive views. His humanism and patriotism were clearly manifested in the depiction of a true picture of the situation of the working people with a merciless satirical pen and the exposure of the injustice of the ruling circles.

In the first half of the 19th century, when ignorance and prejudice still dominated the public consciousness, the appearance in Uzbek literature such poetesses, how Mahzuna, Uvaisi and Nadira , became a great event. In their lyric poetry they expressed inner feelings and tender feelings. Many verses Uwaisi and Nadir set to music and are still popular songs among the people.

After the conquest of the Turkestan region by Russia, they found themselves under double oppression peoples of Central Asia, including Uzbeks, through poets and thinkers openly expressed their attitude to the economic and political situation. Living and working in the colonial system Mukimi, Furkat, Kamil Khorezmi, Zavki, Avaz Otar, Hamza Hakimzade Niyazi, Sadriddin Aini and others boldly condemned colonial and social oppression, violence, injustice. Democratic-minded representatives Uzbek literature sought to express the freedom-loving aspirations of the people in the conditions of the colonial system.

With the beginning of the 20th century, there are new talented poets and writers. Initially, under the influence "revolutionary" ideas, new a constellation of writers Sadriddin Aini, Avaz Otar, Hamza Hakimzade Niyazi and others - had a certain influence on the emergence of a new direction in Uzbek literature. A particularly vivid expression of the revolutionary spirit, the desire for a new life, the ideas of creation were found in the work of such writers, how Abdullah Qadiri, Abdullah Avloni and others. Against the backdrop of events in Kokand Khanate and Tashkent Bekdom Abdullah Qadiri in his thrilling romance "Utgan kunlar" ("Past days") through tragic love Atabek and Kumushbibi talentedly described the life of Uzbeks in the XIX century. In his second novel "Mehrabdan Chayan" ("Scorpion from the Altar") the oppression of soulless khans and injustice on the part of local amirs are exposed.

Since the 1920s, in Uzbek literature a whole galaxy joins talented writers - Hamid Alimjan, Gafur Ghulam, Aibek, Abdulla Kakhkhar, Kamil Yashen, Uigun, Shukhrat, Gairati and others. Subsequently, with its ebullient creative activity, a tangible mark in Uzbek literature left such writers and poets, how Zulfiya, Maksud Sheikhzadeh, Akmal Pulat, Sharaf Rashidov, Mirtemir, Umari, Jura etc. In the post-war period, the spiritual development of the Uzbek people receives a new impetus, as a result of which dozens of new talented works appear. Significantly enriched Uzbek literature new time such poets and writers, how Said Ahmad, Shukrullo, Askad Mukhtar, Ibrahim Rakhim, Sagdulla Karamatov, Adyl Yakubov, Pirimkul Kadyrov, Mirmukhsin, Erkin Samandarov, Abdulla Aripov, Erkin Vakhidov and many others that have received universal recognition.

Uzbek literature is the immortal creation of the creative genius of the Uzbek people, the artistic history of his life, the brightest embodiment of his freedom-loving aspirations and aspirations, love for the motherland. By “Uzbek literature” we mean the literature of the Uzbek people, written primarily in the Uzbek language. However, for a long time the literature of the Turkic peoples who inhabited Central Asia was unified and written in the so-called Turkic language, or, as is commonly believed in domestic science, in the Chagatai (Old Uzbek) language. Consequently, that ancient Turkic literature, starting from the first monuments of ancient Turkic writing, belongs to almost all Turkic peoples that inhabited this vast region, and is an integral part of Uzbek literature, although it was not written in the Uzbek language itself.
Uzbek literature is a life-giving monument of the historical past of the people. On its pages, in the images created by it, the spiritual development of society over the centuries is imprinted, the national character of the Uzbek people is embodied.
The entire history of Uzbek written literature can be conditionally divided into several stages. In the division into stages, although there are several points of view, we adhere to the point of view of F. Khamraev, who schematically divides the history of Uzbek literature into the following stages:

First stage

This was the heyday of romantic-philosophical and moral-educational literature. Historically, it covers the period up to the 16th century. This stage, in turn, is divided into two historical periods:

From ancient times to the beginning of the XIV century.

During this period, Uzbek written literature began to take shape, the most prominent representatives of which are Yusuf Khas Khadzhib Balasaguni and Mahmud Kashgari. It was their works that played a decisive role in the formation of secular literature of the subsequent period. In addition, this period is characterized by the flourishing of the so-called religious-mystical literature, which gained worldwide fame and recognition.

Literature of the XIV-XV centuries.

This period is characterized by the highest rise of Uzbek secular literature. The work of Mahmud Pakhlavan, Durbek, Lutfi, Yusuf Amiri, Gadoi and other indicators of increased skill, originality of poetic thinking, genre enrichment of Uzbek literature. It was at this time that the brilliant poet and thinker Alisher Navoi lived and worked.

Second phase

This stage is characterized by the transition to realistic literature. It is characterized, first of all, by a more truthful and holistic reflection of pictures of reality. This stage can be divided into three periods:

Literature of the 16th - early 17th centuries.

Among the most prominent representatives of this period are Zahiriddin Muhammad Babur, Muhammad Salih and Babarakhim Mashrab. It was they who first depicted realistic paintings of that time, which greatly contributed to the development of realistic trends in subsequent classical Uzbek literature.

Literature XVIII - first half of XIX centuries

This period is notable for the appearance of the remarkable poetesses Uvaisi, Nadira and Makhzuna. They, along with male poets, began to actively develop realistic tendencies in Uzbek literature. At the same time, women's love lyrics appeared for the first time. The most prominent poets of that time were Muhammad Sharif Gulkhani, Makhmur, Munis Khorezmi, Agakhi.

Literature of the second half of the XIX century. - beginning of XX century.

Remarkable Uzbek writers worked during this period, the most prominent of which were Mukimi, Furkat, Zavki, Muhammadniyaz Kamil, Avaz Otar-ogly. They played an exceptional role in the formation of all subsequent Uzbek literature of the latest period. Their works were innovative in many ways and served as the basis for the formation of a new democratic trend in Russian literature. They were the first to create poignantly satirical and humorous works that were popular and have not lost their relevance to this day.

Third stage

- The history of Uzbek literature of modern times. It covers almost the entire twentieth century. This stage is characterized by ups and downs, creative searches and the emergence of new genres of Uzbek literature. In this stage, three historical periods can also be distinguished:

Literature of the 20-50s of the XX century.

The largest representatives of this period are Abdurauf Fitrat, Khamza, Abdulla Kadiri, Gafur Ghulam, Aibek, Hamid Alimzhan. It was their work that became the link between classical Uzbek literature and modern times. They managed not only to create worthy works that meet the requirements of the new time, but also did not lose the best that had been achieved earlier in domestic literature. It was their works that laid the foundation for the Uzbek literature of modern times.

Literature of the 60-90s of the XX century.

This historical period was a key one in the history of Uzbek literature. It was no less complex and responsible than the previous one. At the same time, the skill of writers has noticeably increased, and they began to create works that meet all the requirements of the modern literary process. Uzbek literature did not get lost in the powerful stream of development of world literature, rather the opposite: its uniqueness and originality became obvious. Said Akhmad, Askad Mukhtar, Adyl Yakubov, Primkul Kadyrov, Erkin Vakhidov, Abdulla Aripov and many others not only gained wide popularity and recognition, but created works worthy of the modern era.

Literature of independent Uzbekistan.

The present period of development of literature is characterized by both genre and thematic diversity. However, modernity has not yet found a proper embodiment in Russian literature. The birth of new writers and worthy works is still waiting in the wings. We tried to consider Uzbek literature not in isolation from the general world literary process, but in connection with it. Especially such issues as the relationship and mutual influence of literatures and genre enrichment.

O fiction in Uzbek

Fakhriddin Nizamov is a man of mystery. Because there are actually two of them. The first one is Fakhriddin-aka, he was born in 1963 in the village of Sangijumon (now the Navoi region of Uzbekistan), studied to be a philologist at Samarkand State University, then went to the Indian Institute of Mass Communications, where he received a degree in journalism; Returning to his homeland, he made a career of an official. The second one is called Fakhriyor, and he is a poet, subtle lyricist, philosopher and polyglot, screenwriter and translator...

To the 70th anniversary of the writer

Each nation has its own values, which express the identity of the nation, its inherent features, its pride, culture, faith, customs and traditions, way of life. But in order to understand these values, one must understand the person himself. The worldview of people, life itself and attitude to it common man- the main theme of the work of the Uzbek writer Togay Murod.

To the 95th anniversary of the novel

Abdulla Kadyri's novel "Past Days" reveals the widest range of universal topics and problems. Therefore, it is very difficult to define it unambiguously. But still, it can be argued that, having based the work on a beautiful love story, the author managed to touch upon the most difficult problem of the confrontation between God and the devil, light and darkness in the fate of mankind.

In the history of Azerbaijani-Uzbek relations, a special place is occupied by the writer, poet, playwright, master of translation, outstanding teacher, linguist and literary critic, honored worker of arts of Uzbekistan, Azerbaijani Maksud Sheikhzade (1908-1967), often called “the son of two peoples.

“Chulpan,” critic Vadud Mahmud wrote in the Turkeston newspaper in December 1923, “is the new poet of the Uzbeks. Therefore, in his collection “Sources”, today's spirit, condition and consciousness of the Uzbek people boil. Here the Uzbek language, Uzbek melody sound in full voice. Waves of the national spirit soar into the sky here. Feelings, pains, unrest of Uzbeks are crying in the collection”.

To the birthday of the great poet

The poems of Rauf Parfi - which, however, can be applied to the work of any great poet - have one peculiarity: they do not lend themselves to an unambiguous interpretation. Even for speakers of the Uzbek literary language, Parfi's poetry is sometimes too "dark" - with all the intonational clarity and almost crystalline harmony of her language. In any case, it tempts with the possibility of interpretations and reinterpretations. We decided to reflect this feature by placing translations of some of Parthy's poems at the end of the collection. We very much hope that the inquisitive reader, having compared these versions with each other (and ideally with the originals), will at least get a little closer to the core of the meaning of this poetry, will feel its trembling and flickering.

Rauf Parfi (1943-2005) is perhaps one of the key figures in modern Uzbek poetry. The versatile and prolific poet, who acted as a traditionalist and innovator, added variety to the existing system of versification. Being a recognized master, he was in no hurry to get closer to official poetry, but he took an independent position, which doomed himself to a semi-impoverished existence.

To the 85th anniversary of the famous artist Ruza Charyev

Many years ago, two talented people met - the artist Ruzy Charyev and the singer Batyr Zakirov. R. Charyev painted a picturesque portrait of a popular singer, perpetuating his image. B. Zakirov wrote a literary portrait of the famous artist "Every day is a day of creativity", which was published on September 24, 1976 in the newspaper "Soviet Culture", popular in those years.

The end of the fifties - the beginning of the sixties of the XX century was marked by a qualitatively new stage in the development of society. The changes that took place in the ideological sphere (the debunking of Stalin's personality cult) led to a serious creative upsurge of a certain part of the creative intelligentsia.

With their work, they formed fundamentally new trends in the development of national culture and literature, contributed to the expansion, and sometimes serious loosening of the rigid ideological framework of realism. After a long time, they were the first to refuse embellishment in the depiction of reality, began to write not about external, but about internal, deep processes of the human soul, thereby seriously raising the artistic level of Uzbek literature. The aesthetic traditions of the past and innovative artistic solutions, the experience of oral folk art and the stylistic searches of artists - everything is inherent in the literature of the 60-90s, which is distinguished by a variety of creative individuals, a variety of types and genres. All of them help to delve deeper into life, to comprehend the past as an effective weapon in solving problems. contemporary problems and consider the present as the threshold of the future. The themes and conflicts, ideas and images of works created in the second half of the 20th century vividly and realistically reflect the truth of the past century, which was complex and contradictory in the history of the Uzbek people.

The Uzbek literature of the 20th century is characterized by its enrichment with new prose genres. In particular, such a genre of modern prose as a historical novel began to actively develop in Uzbek literature. This genre is relatively young, but it can be noted that certain achievements in this genre are associated mostly with the name of Adyl Yakubov.

The remarkable Uzbek prose writer Adyl Yakubov was born in 1926 in the village of Atabay in the Turkestan district of the Chimkent (now South Kazakhstan) region of Kazakhstan.

The future people's writer of Uzbekistan began his career in the Abaevsky village store of the city of Turkestan, served in the ranks of the Armed Forces. In 1955, he moved to Tashkent, where a year later he graduated from the philological faculty of Tashkent State University (now the National University of Uzbekistan) and worked as a consultant for the Union of Writers of Uzbekistan. Later, he works as a correspondent for Literaturnaya Gazeta in the republic, editor-in-chief of the Uzbekfilm film studio, editor-in-chief of the Cinematography Committee under the Council of Ministers, deputy editor-in-chief of the Literature and Art Publishing House named after. Gafur Gulyam, editor-in-chief of the newspaper "Uzbekiston adabieti va san'ati", chairman of the Union of Writers of the Republic. Currently, Adyl Yakubov is the chairman of the terminology committee and the vice-president of the Assembly of cultural figures of the peoples of Turkestan (the president of the Assembly is Chingiz Aitmatov).

The first major prose work of A. Yakubov - the story "Peers" was published in 1951. In it, the young writer sought to portray characteristic characters, tried to take a deep look into their inner world. The writer puts his characters in a position where they constantly have to do things, make choices, look for the only right answer. From this, the intrigue of the work attracts and makes the reader empathize with the heroes of Adyl Yakubov. Later, the writer wrote his famous stories and novels, such as "Davron Gaziev - Captain of the Guard", "Muqaddas", "Confusion", "It is not easy to become a man", "A bird is strong in wings", "Conscience" and "Treasures of Ulugbek" and, of course well, numerous stories. These works brought the writer wide recognition and love of readers far beyond the borders of the republic.

Throughout his work, the writer is interested in the behavior of characters in critical situations, when it is necessary to make a vital decision, when their inner essence is revealed. Thus, Adyl Yakubov explores in his prose actual situations, new characters, gives them new artistic solutions.

Peru writer Adyl Yakubov also owns a number of dramatic works. His plays "True Love", "Fidelity", "The Heart Should Burn" and others have not lost their relevance even today, although they were created several decades ago.

The greatest public outcry in its time was caused by the novel by Adyl Yakubov "Conscience" (1977), dedicated to topical issues modernity. And this is no coincidence. The novel raises acute, topical problems of our time, problems of conscience.

The scientist Shamuradov is depicted in a confrontation with the pseudo-scientist Vahid Mirabidov, for whom the truth in science is an empty phrase. The dispute between Shamuradov and his excessively zealous opponent is deeply fundamental. Not just two different views collided, but two types of thinking, two different attitudes towards the fundamental interests of the people.

The moral conflict developing in the novel between Shamuradov and his nephew Atakuzy Umarov, who heads a large prosperous collective farm, is interesting.

Atacuses are a complex image. This is a person with enviable energy, great organizing abilities. He attracts collective farmers with his ability to work selflessly. But this is a person suffering from many moral flaws, the main of which is a dormant, lazy conscience. The collapse of Atakuza Umarov is largely due to the fact that he did not listen to the voice of conscience, did not take seriously the words of his wise uncle, who timely warned his nephew about the danger of the slippery path that he had chosen in life.

Said Akhmad Khusankhojaev (born 1920) - People's Writer of Uzbekistan, laureate of the Khamza State Prize, came to literature in the forties as the author of feuilletons, essays and stories. Cooperation in the magazines "Mushtum", "Sharq Yulduzi" contributed to the growth of the writer's skill. The favorite heroes of Said Ahmad are ordinary people, contemporaries. The author is primarily interested in the internal motives of the actions of the characters, psychologism, motivation of actions.

Said Ahmad won the greatest recognition and national fame as the author of sparkling funny comedies. The lyrical comedy "Riot of the Daughters-in-Law" was successfully staged on the best theatrical stages in 14 countries of the world. Based on the comedy, two film versions were shot - domestic and in Laos.

The success of the comedy lies in the relevance of the problems posed in it, and in the ambiguity of the characters, their vitality, and in the use of elements of the folk theater. The plot, the conflict, the situations described are subject to a comedic design. Among stylistic features comedies - elements of artistic exaggeration, allegories, metaphors, the use of folk genre techniques - askiya. The author himself claimed that there are almost no exaggerations in his comedy, but the funny features of human characters are concentrated.

The beginning of each of the three actions is noteworthy - the appearance of the shoemaker Usta Baki, who talks about the participants in the events, gives them an assessment. Usta Baki is also a direct participant in the play. From his story, we learn about the inhabitants of the "state within the state" - a family commanded by the "general", "marshal" Farmon-bibi, the mother of seven sons and the grandmother of forty-one grandchildren.

In the first scene, the youngest daughter-in-law of Farmon-bibi Nigora appears and begins to do gymnastics. The sight of a young daughter-in-law in light sportswear horrifies Farmon-bebe. She poses an almost "Hamletian" question to her youngest son - "mother or wife." Thus begins the main conflict of the play - the struggle for respect for the freedom of the individual, against absurd survivals, slave psychology. big luck playwright that all characters in comedy are ambiguous. So, Farmon-bibi, the "general", a stingy and imperious mistress of a large family, at the same time a loving, caring mother and grandmother, educating honesty, diligence and integrity in children and grandchildren.

A special comic effect is created by the author in the scenes when all the daughters-in-law set to work at once, and the sons go to their rooms in orderly rows. However, with all the outward similarity (even Farmon-bibi buys the same home clothes for everyone), each of the characters is individualized, easily recognizable.

A remarkable achievement of the playwright is the speech of the characters. It is bright, expressive, filled with gentle humor, caustic irony, comic exaggeration, proverbs and sayings. So, characterizing Farmon-bibi, the daughters-in-law claim that even planes flying over their house turn off the engines so as not to anger the mother-in-law, and the neighbor's rooster stopped screaming in the morning out of fear of her.

Under the leadership of Nigora, the daughters-in-law and their husbands show Farmon-bibi the performance "The Revolt of the Daughters-in-Law", in which they play out the situation that has developed in their family in a sharp, parodic form. Recognizing himself in the wayward, malicious old woman, Farmon-bibi gives up. The comedy ends with a happy reconciliation of the conflicting parties, a cheerful dance.

The lyrical comedy of Said Ahmad "The Revolt of the Daughters-in-Law" occupies a worthy place among the works of Uzbek dramaturgy.

A modern remarkable poet is Erkin Vakhidov. He was born in 1936 in the Altiarik district of the Fergana region. In 1960 he graduated from the philological faculty of the Tashkent state university(now the National University of Uzbekistan). He began his career as an editor at the Yesh Guard publishing house, where he worked for three years (1960-1963). Later, the poet worked in the same publishing house, but already as the chief editor (1975-1982). Erkin Vakhidov also worked in the publishing house of literature and art named after. Gafur Gulyam as an editor, editor-in-chief (1963-1970), director (1985-1987), was the editor-in-chief of the "Yeshlik" magazine (1982-1985).

Since 1990, Erkin Vakhidov has been actively involved in public and state activities. In 1990-1995, as a deputy of Oliy Kengash, he headed the Committee on Glasnost. Since 1995, he has been a member of the Oliy Majlis and chairman of the committee on international affairs and inter-parliamentary relations. In these high positions, his talent was manifested not only as an organizer and creative leader, but also as a politician, a person capable of generating ideas, whose intelligence, flexibility in pursuing politics helps to raise the authority of the state.

Currently, Erkin Vakhidov is a laureate of the State Prize of Uzbekistan named after. Khamza (1983), People's Poet of Uzbekistan (1987), Hero of Uzbekistan (1999).

The creative path of E. Vakhidov is also extremely consistent. Erkin Vakhidov began to write poetry early, in the early fifties, when he was still at school. Even then, a talent appeared that is characteristic only of poets of great talent. And even then E. Vakhidov understood perfectly well that it was necessary to write only about the most intimate and real:

The hot heart of the poet is a pomegranate.

pomegranate fire juice

The poet's sparkling lines burn

In perseverance high, cruel.

He is accustomed not to spare his heart

And hot pomegranate juice out of him

Everything presses, as if not knowing:

As soon as his cup is filled -

And earthly life will end.

Since the very beginning of the sixties, Erkin Vakhidov has been publishing his poetry collections almost every year: "Breath of Dawn" (1961), "My Songs for You" (1962), "Heart and Mind" (1963), "My Star" (1964), " Echo "(1965), "Lyrics" (1966), "Sofa of Youth" (1969), "Light" (1970), "Today's Youth" (1971).

He seeks to expand the themes of his work, tries himself in different genres - epic, song, journalistic.

These were not just poems of a young poet.

These were artistically mature, sincere poems of the poet, whose talent was amazing. An example is the poem "Steel", written in 1959:

She took both brilliance and courage,

Hungry guns

Deadly bass.

Melted into swords from a plowshare

And atomic bomb exploded...

But conquered the world

with one pen

Its subtlest embodiment.

His work immediately became the subject of scientific disputes, various studies, which happens extremely rarely with the work of young poets.

Noticeable changes are taking place in the nature of his poetry.

He is increasingly attracted by a sincere and smooth intonation, freed from excessive laconism and abruptness, a manner of confidential, sincere conversation with readers:

From the pangs of love I became pale,

dark tired soul

Don't look in the mirror

After all, it's not his fault.

Erkin Vakhidov's poetry collections that appeared later, such as "Love" (1976), "Living Planets" (1978), "East Coast" (1982), "Message to Descendants" (1983), "Insomnia" (1985), a two-volume collection of selected works (1986), "Kui avzhida uzilmasin tor" (1991), "The bitter truth is good" (1992) and, finally, his four-volume collection of selected works, which was published at the very beginning of the 21st century, received extremely wide popularity.

The most valuable psychological quality of E. Vakhidov is a deep internal democracy, which does not contradict subtle intelligence, but, on the contrary, cements it.

The natural manifestation of democracy is an insatiable curiosity about life. There is no idleness in such curiosity. Its basis is indifference. Close attention to people and situations that can be erased from memory or falsely embodied if they are not captured by a direct witness. His poem "Ostrich" is interesting:

He said:

I love peace and work. -

He said:

Yes, full of fuss! -

Camels said that he was a camel,

And the birds beware! - what a bird.

Erkin Vakhidov is the author of a number of interesting poems and poetic dramas, among which are such poems as "The Dream of the Earth", "A Poem Written in a Tent", "Devotion", "The Rebellion of the Immortals", "The Conqueror and the Barber" and some others .

Of course, all the work of the remarkable poet Erkin Vakhidov is a precious historical evidence, an artistic document of the era.

How, after all, is the talent of a poet, a real poet, a Master measured? The unusualness of poetic thinking or the power of generalization, artistry or the ability to adequately reflect life?

And the first, and the second, and the third... And yet, it seems, something that is given from the Almighty and that cannot be expressed in words - it is necessary to understand and feel. And it is impossible not to accept it. This is how one can characterize the work of the outstanding Uzbek poet Abdulla Aripov.

Abdulla Aripov was born on March 21, 1941 in the village of Nekuz, Kasan district, Kashkadarya region. The personality and worldview of the young A. Aripov in the main features took shape in the difficult post-war hard times. It was a time when only labor, painstaking and everyday, allowed to survive and survive.

Since childhood, Abdulla Aripov loved to read a lot. In general, books were his passion. Largely due to this, the study of the future poet was easy. He studied with pleasure. The generation of the sixties, to which Aripov belonged, knew all the hardships of the half-starved time, valued time and strove, despite the difficulties, to move forward, comprehending life.

In 1958, Abdulla Aripov graduated from high school with honors, and in 1963 from the journalism department of Tashkent State University (now the National University of Uzbekistan). He probably knew from childhood that he would be a poet. He did not represent himself in any other capacity. The teachers-mentors, who were attentive to the young talent, also helped him in this. Among them were such well-known scientists as Ozod Sharafuddinov, Matyokub Koshchanov and some others, whom he would later remember with special warmth. Largely due to their efforts, the passionate desire to become a poet, to connect his life only with creativity, strengthened in the young poet.

Abdulla Aripov began his career as an editor of the Yosh Guard publishing house (1963-1969). Then he worked in the publishing house of literature and art. Gafur Gulyam (1969-1974), in the "Sharq Yulduzi" magazine (1974-1976), the Writers' Union (1976-1982), the editor-in-chief of the "Gulkhan" magazine, the secretary of the Writers' Union, and in last years is its Chairman. The poet also heads the Republican Copyright Agency.

From the very beginning of his work, Abdulla Aripov was struck by his imagination, plasticity of images, and extraordinary metaphor. This is observed in almost every poem by A. Aripov:

I don't expect happiness from anyone.

And I myself will hardly give happiness to anyone.

Not because I'm stingy, just power

I don't have one. I know myself.

Take a look: from the green branch of elm

The leaf fell off, died in the prime of life.

Other leaves, seeing this, cry,

But no one can help, no.

Hero of Uzbekistan, People's Poet of the Republic Abdulla Aripov is one of the most beloved and most popular masters of the Uzbek word, the author of over fifteen original poetry collections, the anthem of the Republic of Uzbekistan. His work is studied in secondary and higher educational institutions. Quite a lot of his poems have been translated into dozens of languages ​​of the world. Popular Uzbek songs were written on his poems...

In one of the best poems by Abdulla Aripov "Uzbekistan" there is a line that runs like a refrain through all his work: "Uzbekistan, my Motherland". Yes, the poet's sense of the Motherland is extremely brightly developed. But, thinking about it, Abdulla Aripov boldly crosses the borders of the region where he was born and lives. The homeland for him is the whole globe, quite small, but heaped on his shoulders and good, and evil, and love, and hatred, and with a heavy burden directed towards the light of happiness. All the poetry of Abdulla Aripov is permeated with life-affirming optimism. Moreover, the poet knows how to see and feel life in all its diversity and ambiguity. He understands the complexity of life, its contradictions, and that is why his poetry lives, is constantly updated, like nature itself. Only his love for the Motherland remains unchanged.

There are joys and sorrows in life

But only with you my heart was always

And I didn't dare lie to you.

I wanted to hug you, but I couldn't

You are like the sky, like a blade of grass I ...

My shrine, my native hall,

Motherland, you are my Motherland!

There are no random lines in the poet's work, no borrowings, no obvious influences. The work of Abdulla Aripov is a special phenomenon in Uzbek literature. Indeed, he is an original poet. This refers not so much to the form as to the content of his poems. Many of them attract both by the impressive freshness of the poetic word, and the vigilantly noticed life details, and the original figurative interpretation of both everyday phenomena and folk legends, songs, proverbs and sayings:

Do not get tired of repeating:

In the proverbs of the people's mind. He's flexible

To listen to them means to comprehend wisdom.

Follow them - do not make mistakes.

Yes, he's flexible...

Here with foam at the mouth

A man is clamoring about the fidelity of a dog ...

When your dog - maybe so

And if someone else's, then it's different!?

In general, the poet's work often uses folklore motifs, images that he interprets not in the usual traditional sense. Here is how, for example, A. Aripov plays with a well-known Uzbek proverb:

The dog barks - the caravan moves on,

People have known this for a long time!

But you do not consider an enviable share

All my life to go - and hear the evil barking.

The innovation of Abdulla Aripov's creativity is not an attempt to break away from tradition. He clearly understands that, due to deep and spiritual connections with the past, there is no break and cannot be. There is a continuation, development, but peculiar and even unpredictable. And from this the poetry of A. Aripov only wins. Here is a small excerpt from the poem "Listening to" Munozhat ":

If these strings speak the truth,

I heard human screams in them.

No, you are not the cradle of mother nature,

You are the scaffold, you heartless executioner!

Through the mists of centuries on sunny days,

An age-old echo came on the strings.

Just an echo. How could they

Endure such fatal grief!

But a small poem "Goldfish", which is one of the programmatic in the poet's work, I would like to quote in full:

When there is little left to be a caviar,

She was thrown into our overgrown pond.

Waste fed and splashed

She is in the water stale, bad.

What did she see on the shaky surface?

Grass and leaves, a bottom with smelly silt...

It's a shame to me that the goldfish

The rotten world considers the whole world.

Amazing, isn't it?! How artistically and subtly a deep and, at the same time, simple thought is expressed.

According to such verses by A. Aripov, the unquenched thirst for a breakthrough to folk spirituality is physically tangible. It is felt in everything: in the rhythm, in the dictionary, in the ways of understanding, in the desire to write "not about yourself." No less urgent, for the poet, is the thirst to shout out, to reach with verse the hearing and consciousness of those people whom he cherishes more than anything in the world, and love for whom leads him both in his life and literary path.

The disharmony of life exacerbated the feeling of the unity of man and nature, which permeates all of Abdulla Aripov's work. The humanism of the lyrical hero extends to all nature.

Save humanity - it's a gift,

It was left to us by our ancestors as a legacy.

Keep the friendship of swan couples

And the purity of the soul from barefoot childhood ...

When there is a fire in the forest, they immediately burn

And a young maple, and an oak that lived for two centuries ...

Human souls are like mother nature

They need human protection!

The poet respects the historical experience of the people, treats him reverently and carefully. Historicism of Abdulla Aripov is selective, concrete, organic. This is exactly the kind of his dastan (poem) about Amir Timur, one of the best Uzbek dastans on a historical theme. For many years this work has not left the stage of the National Theater of Uzbekistan.

Peru also belongs to A. Aripov's dastans "Avicenna and Death", "The Road to Paradise", which rightfully took a worthy place in the history of Uzbek literature.

Speaking of poetry, one cannot ignore the love lyrics of Abdulla Aripov. And the love lyrics of A. Aripov are also peculiar: they are experienced, felt, very close:

I don't know anyone in the whole world

Whose camp would be more graceful than yours.

I don't know who you will meet in life

But I know you will make him happy.

I don't know how many poems I'll write

But I know

Ready to swear:

You were born just for

To burn a poet alone!

The poet continues to work actively and creates wonderful examples of true poetry. After all, he owns the words:

My best days are not yet lived! ..

This is the essence of the poet Abdulla Aripov, who never ceases to create, never ceases to take an active life position, never ceases to be necessary and necessary for people, for each specific person.

The flourishing of the talent of one of the most gifted Uzbek poets of the late 20th and early 21st centuries. Muhammad Yusuf (1954-2002) fell on the period of revival and formation of a new independent Uzbekistan. His life was short, but his creative path was bright, which can be characterized by Pushkin's words about Byron: "He confessed in his poems, involuntarily, carried away by the delight of poetry."

Muhammad Yusuf entered literature in the late seventies and even then they started talking about him as a serious and unusually talented poet who knew how to find unique and memorable images, to deeply and peculiarly play with seemingly ordinary events and phenomena of life in an artistic form. In the first period of his work, he was remembered by readers for his poem about the Uzbek skullcap, and then for many years this work was a kind of visiting card of the poet.

In this poem, the poet was sincerely surprised that people stopped wearing skullcaps. Why, the poet wonders, is there different kinds this headdress? Or has it become difficult to wear a national headdress? And he comes to the disappointing conclusion that the point is not that there are no suitable skullcaps, but that there are no people left who would be worthy to wear them.

Muhammad Yusuf was born in 1954 in the village of Kovunchi, Markhamat district, Andijan region, in the family of a farmer.

In 1971, after graduating from high school, he entered the Republican Institute of Russian Language and Literature, after which he worked as an editor in the Book Lovers Society of Uzbekistan. Then Muhammad Yusuf worked as a correspondent for the newspaper "Toshkent okshomi", an editor in the publishing house of literature and art named after. Gafur Gulyam, correspondent of the Uzbekiston Ovozi newspaper, deputy editor-in-chief of the National News Agency of Uzbekistan, head of a department in the Tafakkur magazine.

In 1996, the poet goes to work in the Union of Writers of Uzbekistan. First, he works as a literary consultant, and from 1997 until the end of his life - deputy chairman of the Union of Writers of the Republic of Uzbekistan. In 1998, Muhammad Yusuf was awarded the honorary title of People's Poet of Uzbekistan.

The poet published his first poem in 1976 in the newspaper "Uzbekiston adabieti va san'ati". And only nine years later, in 1985, the first poetic collection of the poet "Familiar Poplars" was published. In this collection, the poet lyrically and naturally talks about his thoughts and feelings, about the events of his life. Surprisingly, he was very well received by both criticism and senior comrades in the poetic workshop. Muhammad Yusuf was generally lucky: at the very beginning of his creative biography, a chance brought the young poet to Erkin Vakhidov, who, to a certain extent, helped develop his amazing talent. And in more late period his life he was close to Abdulla Aripov. These two outstanding contemporary poets played a positive role in the development of the talent of Muhammad Yusuf. Even in their work one can observe mutual influence and mutual enrichment. One can, for example, recall in this connection A. Aripov's poem "The Crowd", ending with the lines:

Why are you silent and blind?

When you become the people, the crowd!

And here is how Muhammad Yusuf's poem "Become a people, people" ends:

The children of an established people are drawn to each other,

The children of a failed people eat each other.

Finally stand with dignity and generosity,

Become a people, people, become a people, people...!

Here we can also recall the Russian poet E. Yevtushenko, who wrote:

Only the one who thinks, that people,

Everything else is population.

In the poems of Muhammad Yusuf, Uzbek nature appeared in various forms in a full and diverse way. Everything that he saw and felt, he embodied in poetry. And what verses! There were no verbal embellishments or poetic excesses in them. Such a sincere poetic voice was a rarity for Uzbek literature of the 20th century. Perhaps only Chulpan, Gafur Gulyam and Abdulla Aripov were such deeply national poets.

Familiar poplars. The noise of the canal.

Muddy water, native water.

Branches of street willows bent...

I haven't been here in a long time...

The wooden door quietly opens...

I'm very reserved, but

I can burst into tears now -

I haven't been here in a long time...

At the same time, the poet is often paradoxical. He writes seemingly simple verses, but they are deep and hard-won:

Mom, why did you give birth to me?

For the motherland.

Mom, why did you give birth to me?

For your happiness...

Mom, why did you give birth to me?

From need.

Mom, why did you give birth to me?

Boredom...

The freshness, spontaneity, penetrating sincerity of the poems of Muhammad Yusuf, the crafty charm of his poems, the novelty and originality of genre pictures, their truly folk song beginning conquered. The national originality of his poetry, the complete independence of the poet from all kinds of influences, contributed to the incredible popularity of the poems of Muhammad Yusuf.

The songs created on his poems began to live their own independent lives, and they were, as never before, extremely popular. Especially at the beginning of this century, when the People's Artist of Uzbekistan Yulduz Usmanova performed several songs based on his poems.

As a poet, Muhammad Yusuf is characterized by an extraordinary versatility in the perception of the world, paradoxicality, ardent responsiveness to every movement of life and an unbridled flight of fantasy.

I will not write poetry.

I'm just a man now

I'm starting to live like a normal person.

But if the soul demands that I write,

I'll create it at night and burn it in the morning!

Muhammad Yusuf seeks to reveal life in its fullness and diversity. Love for him is life itself. Without love, he could not imagine himself either in life or in creativity. That is why almost all of his work is permeated with touching and extremely lyrical lines:

If you come, I will shower the road with flowers,

I compare you with Layla, myself with Majnun,

I would live in this world without knowing separation,

Where can I look to find you...

And yet the main theme of his work was love for the motherland. He always wrote about Uzbekistan: both at the beginning of his creative activity, and in a later period of his life.

Although every poet writes about the Motherland, only a few wrote about Uzbekistan in such a bright and original way.

But even at the same time, the poems of Muhammad Yusuf, dedicated to the native side, are distinguished by a special mood, incredible plasticity and vivid imagery. Only the most devoted and sincere sons of the Fatherland could love the Motherland like Muhammad Yusuf loved it!

This is how he writes about the Motherland in the poem "Uzbekistan".

The days spent with you are a holiday for me,

If I part with you, I miss you.

I bow to those who know you.

I express my regret to those who do not know.

Closely adjacent to the theme of the Motherland are the poet's poems dedicated to his mother. These touching and sincere poems not only convey the son's love for his mother, but are addressed to all mothers.

They are filled with special meaning, and the poet sometimes speaks on behalf of a whole generation.

Like any other great poet, Muhammad Yusuf was engaged in translation activities.

He did it selectively and approached the translation quite demandingly. Despite the fact that he himself studied translations of the works of great poets, the words of V. Zhukovsky can be fully attributed to his translations: "the translator of prose is a slave, the translator of poetry is a rival."

Of course, that every word, all the events of his personal life were poetry for Muhammad Yusuf.

He lived easily and brightly, like a bird, he soared above the ground.

The life of the poet ended early.

As if his creative flight was interrupted on takeoff...

The only consolation is that a poet of such a scale, such depth of feelings and thoughts, as Muhammad Yusuf was, left us his wonderful artistic works, which, no doubt, will have a huge impact on the development of Uzbek poetry in this century.

Control questions and tasks:

1. What is the peculiarity of the Uzbek literature of the XX century?

2. Describe the work of Adyl Yakubov? What is the main theme of his works?

3. What is common and what is the difference between the works of Erkin Vakhidov and Abdulla Aripov?

4. How is the theme of the Motherland covered in the works of E. Vakhidov, A. Aripov, Muhammad Yusuf?

5. What work of A. Aripov is known to all citizens of Uzbekistan?

6. Who else do you know among contemporary Uzbek writers? What works are they the authors of?

7. Why are many songs written on the verses of Muhammad Yusuf?

UZBEK LITERATURE-works created on the territory of modern Uzbekistan in the period from the 15th to the 20th centuries, i.e. from the moment when these places were covered by a wave of movement of Uzbek tribes from the regions of South Kazakhstan.

The most ancient Uzbek literary works are over 200 epic poems, many legends, epic songs performed by folk poets - bakhshi. Heroes of folklore fight against hostile forces - evil spirits, dragons. Ancient cycle of epic poems Ker-ogly and a poem Alpamysh written around the 10th century. Alpamysh entered the folklore of all the peoples of Central Asia, it deals with the courage of folk heroes, courage, bravery and hatred of enemies, contains many witty aphorisms, vivid metaphors, colorful descriptions. Another popular piece from the cycle Ker-ogly- a poem about the transforming power of love Ravshan Khon, many times subsequently reworked by folk poets. Satirical novels remain popular Nasreddin Afandi in which khans and bais are ridiculed. People of different nationalities appear in oral folk art - Chinese, Iranian, Turkmen, Negro, etc., female images devoid of sentimentality Farhad and Shirin, Kunduz-Yulduz).

Since later Sunni Sufism became one of the ideological foundations of literary works in the Uzbek language, one of the forerunners of Uzbek literature can be considered the figure of the founder of Sunnism Ahmed Yassawi (d. 1166), whose works of a religious and didactic nature formed the basis of a religious and mystical literary school. In his work Hikmat, as in essays Bakyrgan, Akhir Zaman Another poet of this period, Suleiman Bakyrgan (d. 1192), expounded the religious and philosophical ideas of Sufism.

After the conquest in the 13th century. In Central Asia, the Mongols most of the Persian writers and scientists left for Egypt, Asia Minor, etc. ( cm. PERSIAN LITERATURE) Mawarannahr with its capital in Samarkand became an ulug (destiny) of the son of Genghis Khan - Chagatai. The literary language of the Turkic population of Maverannahr began to be called Chagatai. He was literary language Turkic-speaking peoples of Central Asia, without being the language of any one particular tribe. Built on the basis of Turkic-Uighur roots, it included many Arabic and Persian elements.

In Maverannahr in former center Persian culture in Samarkand continued to create literary works - Kyssai Yusuf(1233,Tale of Yusuf Ali, written under the influence of Uighur literature, Kyssasul Anbiya(1310) Nasreddin Rabguzi, Muftarhul Adl unknown author. The literary tradition developed, including new cultural currents, styles and linguistic features.

Timur's conquests and the appearance of Uzbek tribes in Central Asia in the 15th century. were accompanied by intensive cultural exchange, which was facilitated by the linguistic proximity of the Chagatai and Uzbek languages. The main languages ​​in use were Farsi (Persian), its variety - Tajik, Chagatai, which is also called Old Uzbek or Turks, Uzbek, which was a Kipchak branch of the Turkic languages. The settlement of Central Asia by Uzbek tribes coincided in the 15th century. with the conditional delimitation of these territories on a religious basis into the Shiite south (Iran) and the Sunni north (Central Asia).

Uzbek culture was formed on the basis of the preservation and development of its own, Turkic Uzbek language and the richest Persian cultural heritage. In particular, the development of Uzbek literature took place in controversy, clashes and attempts to master the genres and plots of classical Persian literature. Poetry was the dominant literary genre, and the most common poetic forms were ghazals and mesnevi written in couplets. AT poetic form not only lyrical works were written, but also religious and moral sermons and chronicles. Only scientific, religious, historical works and memoirs were written in prose.

During the reign of Timur (14th-15th centuries), Uzbek literature developed intensively. Samarkand and Herat are becoming major centers of scientific and literary life. Writers who wrote in Uzbek resisted the dissolution and replacement of the Uzbek language with Persian, which was considered the main bearer of the cultural tradition. Thus, Durbek, a contemporary of Timur, was one of the first to enter into this dispute. He offered his version of the story Yusuf and Zuleikha(1409), freeing it from a religious raid and giving it the form of a secular love story. Another poet Said Ahmed gave his work Taashuk-nama(1437) a form similar to Persian counterparts Lyatofta-nami and Muhabbat-nami. The famous lyricist Lutfi lived at the court of Shah Rukh – his masterfully written ghazals are still sung by folk singers.

15th c. was the heyday of Uzbek literature. It is more and more freed from religious motives and becomes truly artistic, having received its most complete and vivid embodiment in the works of Alisher Navoi.

Creativity of the "Renaissance" figure of the poet, philosopher, linguist, historian, painter, composer and patron of scientists Alisher Navoi (1441–1504) became the highest point in the development of Uzbek literature. Navoi, who wrote in Farsi and Central Asian Turki, in his famous linguistic work Mukhakamatullugatain(1499,Dispute between two languages) defends the right of the Turkic languages ​​to a place in the literature of Central Asia along with Persian, thus speaking out against its dominance. Navoi's creativity unfolded in a creative discussion with the outstanding Persian figure Jami. Their disputes and friendship became an important milestone in the cultural life of Central Asia, outlining its main features - the inclusion of new Turkic languages ​​in cultural dialogue and the development of the creative potential of these languages ​​through the development of forms and genres of the Persian classical heritage.

In 1469, Navoi became the keeper of the seal under the ruler of Khorasan, Sultan-Hussein Baykar, with whom he studied at the madrasah. In 1472 he was appointed vizier and received the title of emir. As a ruler, he provided assistance to scientists, artists, musicians, poets, calligraphers, supervised the construction of madrasahs, hospitals, and bridges. literary heritage Navoi - about 30 poetry collections, large poems, prose, scientific treatises. He wrote in Farsi (collection Sofa Fani), but mostly into Turki, a medieval version of Uzbek, although many then considered it too rough for poetry.

The pinnacle of Navoi's creativity - Hamsa(Five) - five poems - answer ( Nazira) on the “Pyateritsy” by Nizami Ganjavi and the Persian poet Amir Khosrov Dehlavi: Confusion of the righteous(1483),Leyli and Majnun(1484),Farhad and Shirin (1484),seven planets (1484),Iskandar wall (1485). Confusion of the righteous the poem of a philosophical and journalistic nature covered the most significant issues of the reality of that time. It denounced feudal civil strife and the cruelty of the nobles, the arbitrariness of the beks, the hypocrisy and hypocrisy of sheikhs and lawyers. The poem reflected Navoi's worldview - his ethical and aesthetic views. Leyli and Majnun - a poetic exposition of the well-known ancient Arabic legend about the tragic love of the shepherd Qays for the beautiful Layla from a neighboring nomadic tribe, about his madness and death due to separation from his beloved. The emotional tension and the power of the artistic impact of the poem made it one of the most famous and beloved works of oriental literature throughout the world. Farhad and Shirin - a heroic-romantic poem about the love of a hero for the Armenian beauty Shirin, which was claimed by the Iranian Shah Khosrov. Farhad, a fighter for truth and justice, is opposed to the cowardly shah. Seven planets - seven fairy tales containing critical allusive allusions to the rulers of the Tamurids and their courtiers. The main character of the poem Iskandar wall- the ideal just ruler and sage Iskander.

Another major poetic work of Navoi is a set of 4 poetry collections-divans under the common title Treasury of Thoughts(1498–1499), which included Curiosities of childhood,Rarities of youth, Curiosities of middle age, Edification of old age. This is a collection of lyrical poems of various genres, including more than 2,600 ghazals. Other works of Navoi - Five sacred(1492), dedicated to Jami; collection of refined (1491–1492) – brief characteristics writers of the Navoi era. The treatise narrates about versification and literary theory Size scales. And the aforementioned treatise Dispute between two languages(1499) substantiates the cultural and artistic significance of the Turkic language, which was considered unsuitable for belles-lettres by his contemporaries. His works and literary works contributed to the development of Turkish-language literatures - not only Uzbek, but also Uighur, Turkmen, Azerbaijani, Turkish, etc.

Historical works of Alisher Navoi History of Iranian kings and History of prophets and sages contain information about the legendary and historical figures of Central Asia and Iran, about Zoroastrian and Koranic mythology. In the last years of Navoi's life, a poem was written bird language(1499) and a philosophical and didactic essay Beloved of Hearts(1500) - reflection on the best social order. Navoi's worldview was characterized by optimism and life-affirming power, his work affirmed the romantic direction in oriental literature.

Another outstanding figure, who left a mark not only in Uzbek history, but also in literature, was the founder of the Great Mogul Empire in India, the last of the Timurids, Khan Zakhriddin Muhammad Babur (1483–1530). The collection of his lyrical works is one of the best examples of Uzbek lyrics of that time. His prose memoirs Babur-nama describe the circumstances of his life in simple clear language, historical events, campaigns in Afghanistan and India, feudal civil strife.

After the transfer of power from the Timurids to the Sheibanid dynasty (16th century), devastation began in Central Asia, accompanied by a weakening of cultural and trade ties with neighboring countries. The most famous literary work of this period was the satirical poem Sheibani-nama Muhammad Salih(d. 1512). It exposed the shortcomings of government and described the wild life of the Timurids, praised the new ruler Sheibani.

Under the Sheibanids, khans were actively engaged in literature - Ubaidula Khan (pseudonym Ubaidi, died in 1539), Abdulla Khan (pseudonym Azizi, died in 1551). Literature was considered prestigious and appropriate for people in power. However, their work had an imitative character, it was sustained in the traditions of court poetry. In prose, the most famous in the 16th century. was the name Majilisi, and the best example fiction considered a collection of edifying stories Gulzar(1539) Pashakhoja ibn Abdulahhaba (a pseudonym for Hodge), written by analogy with Gulistan Saadi.

During the reign of the Sheibanids, Central Asia was divided into a number of small independent feudal estates, Samarkand lost the status of the capital and cultural center, giving way to Bukhara, where Tajiks prevailed among the population and literature in the Tajik language developed. The period of cruel internecine strife - robberies, violence, duplicity and selfishness of the beks, officials and clergy - was described in the works of the satirist poet Turda (d. 1699). The Bukhara period of Uzbek literature is marked by tragic events - the murders and expulsion of some writers. The lyric poet Babarakhim Mashrab (d. 1711), who was a member of the popular in the 17th century. the order of qalandars, was known for its simple sincere verses. He was hanged in Balkh by the official clergy who fought against the qalandars. Qalandars, like the Sufis, were a kind of Protestants of the East - they criticized the orthodox clergy, calling for comprehending the secret of direct merging with the divine, not through scrupulous observance of rituals and Sharia laws, but by testing themselves in renunciation of light and worldly joys in a wandering, wandering life.

As a result of a series of internecine wars in the 17th century. the Khorezm Khanate is formed. The beginning of the scientific and literary tradition in Khorezm was laid by the famous historical work of Abulgazi Bahadurkhan (1603–1663) Pedigree tree of the Turks. At the court of the Khorezm khanate, traditional forms of court poetry developed - solemn odes and gazelles praising the khans (poets Vafoi, Yahya, Ravnak). The most prominent poets in the Khorezm Khanate appeared in the late 18th and 19th centuries. Among them, the name of the court poet Shermuhammed Munis, who was advanced in his views, stood out. (d. in 1829), who left behind not only many poems, but also historical works. By order of Muhammad Rakhimkhan II (Firuz), who patronized the arts, in the 19th century. collection was published Majmuatushshuara, which included the works of the best Khorezm poets Kamal, Tabibi, Mirza, Raja and others.

In the second half of the 18th century in Fergana, an independent kingdom of Kokand was organized, which reached its highest development under Alimkhan and his son Umarkhan (died in 1822). At the court of Umarkhan, known as the poet Amir, about 70 poets and writers were gathered, often writing in Uzbek and Tajik. The most prominent of them are Fazli Namangani, Khazyk, Makhmur, Mohammed Sharif, Gulkhani. For the first time in Uzbek literature, the names of female poetesses Mazkhuna, Uvaisi and Nadira appear. By order of Umarkhan, the Kokand version of the collection of local court poets was published Majmuatushshuara. Umarkhan's son Mazalikhan (1808–1843) was also a prominent poet and was influenced by the well-known Azerbaijani poet Fizuli; after him a collection of poems and an unfinished poem were preserved Layli va Majnun. Along with the generally accepted themes of court poetry - praise, mystical motives, love lyrics - a democratic direction begins to develop: Gulkhani, Makhmur, Mujrim. In his work Zarbul-masal Gulkhani, in the past a stoker and bath attendant, for a satirical gift brought close to the palace, without deviating from the established artistic traditions, ridiculed the lifestyle of the top of the Kokand nobility.

In the 19th century strife between the three khanates (Khiva, Kokand, Bukhara) escalates, which leads to their weakening and makes easy prey for tsarist Russia, which has turned Central Asia into its colony. Culture is declining, but in the oral folk art of this period, poems were created that expressed the desire of the Uzbeks to liberate themselves from the oppression of tsarism, - Tolgan ai, Khusanabad, Nazar va Akbutabek. The national poet Khalikdod was accused of agitation against tsarism and exiled to Siberia.

The development of the national bourgeoisie intensified in the era of tsarism. In Uzbek literature, the democratic and educational orientation is intensifying - Zalbek, Mukimi, Zavki, Furkat, etc. In the poem Zalbek-nama the poet Zalbek describes the resistance of the people to the tsarist government, expresses the hope for its complete liberation. The most talented democratic poet was the revolutionary-minded democrat Mohammed Amin Khoja Mukimi (1850-1903), the author of sharp satirical poems and lyrical songs. In satirical poetry Tanabchilar,Maskavchi bei tarifida,Avliya, Bachchagar and others describe vivid pictures of the poverty and lack of rights of the people, they sound a call to fight for liberation from all forms of exploitation. The poet-educator Iskhokhon Ibrat was also a famous traveler, publicist, linguist and one of the first publishers. Other representatives of the period of national revival are the poet-educator Furkat, the poet from Khorezm Ahmad Tabibi, known for his 5 sofas in Uzbek and Persian, the poetess and philosopher of the late 19th - early 20th centuries. Anbar Otin, who wrote on educational topics, the author of a treatise carolar falsafacy.

Uzbek epos and folklore continue to develop. in Turkestan, the names of Uzbek folk poets-bakhshi were well known - Dzhuman Khalmuradov, nicknamed bul bul (nightingale), Yuldash Mamatkulova (Yuldash-shair), Jasaka Khalmukhamedova (Jasak-bakhshi or Kichik-buran).

At the end of the 19th - beginning of the 20th centuries. in Turkestan, under the influence of the Turko-Tatar bourgeoisie and later the Turkish pan-Turkists, the nationalist movement of the liberal-bourgeois persuasion began to spread Jadidism (from Arabic usul-i-jadid - new method). At first, it pursued purely educational goals, intending to adapt the study and understanding of the Koran to the needs of the national bourgeoisie. Later, the Jadids focused more and more on the dissemination of pan-Turkic ideas, establishing ever closer ties with Tatar-Kazan and Crimean pan-Turkists. During the uprising of 1916, the Jadids took an active part in suppressing the uprisings of the masses, demonstrating their true class essence as bourgeois nationalists. During February Revolution The Jadids published the newspaper "Ulug Turkestan", staged separate speeches against the tsarist government and the Emir of Bukhara.

Having hostilely accepted the October Revolution, the Jadids continued their activities, creating the organization Chagatai Gurungi (Chagatai conversation), and participated in the organization of the Basmachi movement. The influence of the Jadids in literature was expressed in the spread of the ideas of Pan-Turkism and Pan-Islamism, in the orientation towards archaic forms of style and language. A significant part of the talented Uzbek writers of the early 20th century. was influenced by Jadid ideas, perceiving them as ideas of national revival. Thus, Abdulla Avloni opened Jadid schools and wrote textbooks, Abdurauf Fitrat, who graduated from the Mir Arab Madrasah in Istanbul, published a number of works in the spirit of Jadidism in the 1910s. In verse Tulagat Tavallo, Abdulhamid Sulaiman Chulpan, in the works of Abdulla Kadyri, the ideas of a free homeland for all Turkic peoples also sound.

Some of the Uzbek writers, carried away by the ideas of Jadidism, later revised their views and accepted the October Revolution. This is, first of all, Khamza Hakimzade Niazi (1898–1929), the founder of Uzbek Soviet literature. In his Jadid period, Hamza was a teacher, playwright, and writer. He was one of the first to accept the October Revolution. He wrote the first works in Uzbek literature depicting the life of the poorest sections of the urban population. In dramatic works Bay ilya hyzmatchi,Spruce kozgunlari, Maisaranyng ishu he analyzes the existing forms and methods of class enslavement. Niazi understood and mercilessly criticized the essence and hypocrisy of the bourgeois nationalists, was their worst enemy. In 1929 he was brutally murdered by accomplices of the counter-revolution. His work was continued by the revolutionary-minded poets Sufi-zade and Avliyani.

Despite the fact that the military resistance of the Basmachi by the Red Army was broken, the confrontation continued at the ideological level. In 1926, a new literary society, the Kzyl Kalyam, was organized in Samarkand, which continued to promote Jadid ideas in the field of culture. In the mid-1920s, in Uzbek, as in other Turkic languages, the process of replacing borrowings from Farsi and Arabic with native Turkic names and the transition to the Latin alphabet, inspired by the Young Turks, began. However, in order to better adapt the process of entry of the Central Asian republics into a single Soviet state in the Turkic Soviet republics Latin was soon replaced by Cyrillic.

In 1930, during the trial of a gang of Kasymovites, members of the Kzyl Kalyam society were accused of aiding bandits, spreading nationalist ideas and conducting subversive work against Soviet power. As a result, the organization was dissolved. After the release of the Decree of the All-Union Communist Party of Bolsheviks of April 23, 1932, which dealt with errors in the field of ideological work in the field of national culture, the Soviet propaganda machine was launched at full speed, and any manifestations of nationalism in the field of literature were blocked.

At the same time, the “green light” was given to works that corresponded to the principles of socialist realism and were consistent with the policy Soviet state in the field of culture. There was a demand for realistic novels and stories from the life of workers, describing the brutal exploitation of the beys, the struggle against centuries of oppression. The image of a liberated woman of the East throwing off the veil and the ideas of enlightenment - a rush to knowledge and an honest working life, were popular. This set of themes, which constituted the Soviet "socialist realist canon" for the literatures of all the republics of the USSR, became the basis for the creation of Soviet national literatures. Despite the ideological order, the ideas laid down in the “socialist realist canon” were new and progressive for that time and had a significant transformative impulse. Therefore, many talented Uzbek writers, not without interest, were engaged in their development and development.

But now the unenthusiastic revolutionary romantics of the first years of Soviet power were beginning to master the Soviet theme. There was a systematic, supported by the Soviet propaganda machine, the development of themes and ideas developed for all Soviet republics.

One of the most prominent representatives of Uzbek Soviet literature was Gafur Gulyam (1903-1966). The stages of his creative path trace the classic career of a Soviet writer from a national republic. Ghulam together with Khamza Niazi laid the foundations of a new Uzbek versification. The constant theme of his works is socialist labor and the formation of a new man, criticism of the remnants of the past, the assertion of socialist reality. His pen belongs to both poetic works - poems Kukan-farm(1930), compilation Dynamo(1931), humorous autobiographical novella mischievous about the life of Tashkent people in the early 20th century, to spend Yadgar,Animated corpse,Who is guilty? During the war, his anti-fascist poems from the collection I'm coming from the east(1943), awarded the State Prize of the USSR in 1946: I am Jewish,You are not an orphan,Time,Holiday on our street and others. In the post-war period, he sang of life on Soviet soil: All is yours(1947),Communism - assalom!(1949),Lenin and the East(1961) and others. Gulyam translated into Uzbek Pushkin, Mayakovsky, Shakespeare, Saadi. Laureate of the Lenin Prize in 1970, awarded three Orders of Lenin.

Another famous Soviet prose writer Abdulla Kakhkhar (b. 1907) in his novels Otbasar and Saraab described the difficulties of collectivization in the countryside. New names appeared in Soviet Uzbek poetry - Gairati (poems Onamga hut,Ginasta), Sultan of Jura (Giordano Bruno,Canal Poem),Wudong,Aibek and others. Having overcome the influence of bourgeois-nationalist trends, Hamid Alimdzhan (b. 1909) grew into a major poet (poems Maharat,Olyum yavga,Zainab wa Aman and etc.); He was also known for his literary works. In dramaturgy, works appear that reflect new realities - plays by Yashin Nugmanov (b. 1908) Tar-mar- about civil war and Gulsara - musical drama about the emancipation of women.

In the post-war period, Uzbek Soviet literature developed in the general mainstream of Soviet national literatures, where in the second half of the 20th century. the themes of socialist construction, industrial success and the struggle for peace prevailed. In form, it was the so-called "big style", i.e. realistic prose with national flavor and stylized as national poetic forms.

Mirmukhsin Mirsaidov (b. 1921), editor-in-chief of the most popular literary magazine in Uzbekistan Sharq Yulduzi (Star of the East) in the 1950s–1960s and since 1971, was also known as the author of collections and poems praising the work of Soviet cotton growers ( Compatriots(1953),Usta Giyas(1947),Green village(1948), stories on historical themes – White marble(1957),Slave(1962), stories about the working class hardening, 1964,son of a caster, 1972) and the formation of the Uzbek Soviet intelligentsia - Umid(1969). Awarded with orders and medals.

Perestroika, the collapse of the USSR, to a large extent influenced the literary situation in Uzbekistan. On the one hand, the literary process continues to go by inertia - writers' organizations work, magazines are published. However, for the first time, it became possible to “make” literature that was not biased by a social order, guided by one's own free choice of topics and aesthetic preferences.

New literary trends, which took shape in the 1990s in the form of the Tashkent and Fergana poetic schools, began to mature already in the 1980s. As a result, a cultural phenomenon unique within the CIS of this period arose - literary movements "mixed" in the Russian language, Eastern worldview and European cosmopolitan aesthetics. The works of "Tashkent" and "Ferghana" first began to appear in Tashkent on the pages of the magazine "Star of the East" in 1990-1995. Then in Moscow and Tashkent in 1999-2004 5 issues of the collection "Small Silk Road" were published. . Now their works and essays can be found on literary websites, in the capital's magazines "Friendship of Peoples", "Arion", etc.

They are characterized by a recognizable style, their own system of images and a certain focus of most of the works. For the Tashkent Poetry School (Tashkola) this is a search for “inner Tashkent”, a personal territory, which naturally includes the details of the real Tashkent, more often the Tashkent of childhood and memories. The authors tell the story on behalf of a lyrical hero who is trying to discover the features of his own myth in fragments of the city's mythology. They are distinguished by a warm intonation, the desire to unobtrusively convey the search for their inner homeland, their own beginnings and a new brotherhood. In most works, there is a nostalgic note for the lost time of immediacy, integrity and simplicity. Stylistically, the poetics of the “Tashkent people” (Sanjar Yanyshev (b. 1972), Sukhbat Aflatuni (b. 1971), Vadim Muratkhanov (b. 1974) and others) is repelled from the Russian classical syllabotonics of the Golden and Silver Ages. In their essays, the authors explain that they consider themselves part of Russian literature, with the help of which they explore their unconscious - their "inner East".

For earlier education - the Ferghana Poetry School (Shamshad Abdullayev, Khamdam Zakirov, Khamid Izmailov, Sabit Madaliev) - the Russian language of the works is rather a formality "not out of love, but out of necessity"; its traditions and culture are of no particular interest to them. The authors draw their spiritual impulses from the poets of the Mediterranean Salvatore Quasimodo, Eugenio Montale, they are close to the cinema of Antonioni and Pasolini. The works of the "Ferghans" are deep, harsh and chilly existential prose-poetry (the favorite form is free breeze). It is maximally depersonalized, aloof, close in meaning and genre to philosophical revelations about the structure, disintegration and metamorphoses of the universe. The place and fate of a person are not specified, but the conclusion suggests itself that they are unenviable.

In connection with the appearance of Russians in Uzbekistan literary schools discussions about which class of literature - Russian-speaking or Russian - they can be attributed to do not cease, especially since the level of works of Uzbek Russian literature is sometimes an order of magnitude higher than the average Moscow-St. worldview problems. Despite the fact that many of the "Tashkent" and "Fergana" have left for other cities and countries, they continue to take an active part in the literary life of Moscow and Uzbekistan - for the fourth time a poetry festival organized by them is held in Tashkent.

In the 1990s, new bright names of writers writing in the Uzbek language appeared - poets Rauf Parfi, Sabit Madaliev, Khamid Ismailov, Belgi, Muhammad Salih, some of them also write in Russian. Modern Uzbek poetry in terms of mood, motifs and chosen meters in in general terms similar to the poetry of authors from Uzbekistan writing in Russian - the general worldview is conveyed in similar ways.

In general, the literary process on the territory of Uzbekistan was essentially a process of development and assimilation of cultural models - classical Persian and Arabic in the period of formation and flourishing (15-19 centuries), as well as pan-Turkic (late 19 - early 20 centuries), Russian (imperial , Soviet) (19–20 centuries) and Western (end of the 20th century). The features of Uzbek literature are largely due to its geography - remoteness from the centers of European culture, the proximity of Eurasian in its landmarks to Russia and genetic proximity to the Muslim East. The very fact that Bukhara and Samarkand, the world's largest centers of Persian culture in the past, were located on the territory of modern Uzbekistan imposes many obligations and can be perceived as a kind of relay race. Significant potential, rich cultural traditions, position at the crossroads of cultures - all these factors give reason to expect the emergence of new interesting works of a synthetic nature in Uzbek literature and culture in general.

Literature:

Navoi A. The legend of Leyli and Majnun from the tribe of Benu Amir. M, "Art", 1978