K.P. Zhussip1, N.K. Zhussupov1, M.N. Baratova1, A.Shapauov2
S. Toraighyrov Pavlodar State University, Pavlodar, Kazakhstan1,2,3, firstname.lastname@example.org S.Ualikhanov Kokshetau State University, Kokshetau, Kazakhstan, email@example.com
ROMANTICISM OF MAGZHAN ZHUMABAEV
This article examines the romanticism of M. Zhumabaev.
Keywords: romanticism, realism, lyrical hero, poem, symbolic sign.
Magzhan’s romanticism consider realistic facts his first poems at the opening of the features of realism. For example, in 1912 the poem «Spring» in the following ways:
Rich make locked Guide horse guard, Man became confident.
Children’s swing type, run quickly Rolling one another in the mud.
Man in the field can’t sleep,
He renounced the mare dear
May, the blossoms, flowers light up,
Silky shining in the greenery,
Beauty waves in branches,
Even the birds sing different songs.
Cool in the heat of dead insects,
The beat their wings to raise the boiling.
Here we see the life of the Kazakh at that time, more often, we will see that the value of the traditinal actions. In particular, the richest horse locked up in the village, make it protected; children run so quickly, » rolling each other on sand», etc. Without a doubt, this poem careful remaind the poem of Abai «Summer», the women «that determines Bylkyldak». Magzhan as usual developed this poem in traditional way, and other derivatives, as well as a poem. Abai paid attention on beautiful women character and gesture, like this Vagzhan described children’s behavior. At the same time, Mazhan quickly observed in the pictures, but is more than minor scenes. For example, the beauty of its branches, insects «beat their wings» etc. Moreover Abai natural ventilation, dayto-day status is received («Thunder» in the river possess some pace of a stream, there is only the beginning of a poem, also drew attention to the normal situation), along with the usual pictures here have a breakthrough after unuswual views received, the less the impact shows: «thunder in the sky, flash fire) // the wind is driving a black cloud wave.» That is sad, «thunders» and not a combination of «flash fire» image, presents a special look. Wind «in», but mostly not, «black» cloud wave driven (in cattle imagine) as the owner of quite a strong movement in the dust. This means that the picture of Magzhan’s poem quiet close nature, the traditional position, depending on the view in a separate part of the excitement does not stop that. Magzhan’s Romanticism with its tradition of realism greenish to prove improvement, «Aida name, Sarsenbay» Consider the poem:
Month name, Sarsenbay
Whiten gold early in the morning, Let’s take into Kyrgyz.
Noise Noise Noise …
Unfortunately it is only reading I came to the city.
This is the priority of realism on the road: a simple person’s way as far as behavior is typical of many of the skills. To win the release of the morning twilight, we see that there is at least one protest in the city. And about the following ways:
November looks back: A formidable stretch City is great one.
Around the fog night
Flash — we do glittering sources
The stretching city is realistic image (large houses) to see, «one of the great fairy» unusual and disturbing picture of the condition you could imagine. «The fog of the night» – unknown things, is ready for a symbolic sign of a symbol of evil, «fire and smoke» to this character, personal check to insure the strange, further specialization, «bright and glittering way sources «that winning a new one exception. Because just in front of the people is appearing like «the great fairy», the city seemed to be, «the rest of the night in the mist around the fire and smoke» in the context of the city, sharp (fog, night, smoke), breaking the light sources are readily glittering surprises . This means that the actual image («stretch of mountain»), the data is ready to sign the label (fog, night), as well as the accuracy of the unreliability of the contingent alternative («one of the great fairy»), stepping into one of the city’s owner ( — fire, smoke), which demonstrate the special character («bright and glittering lighting sources»). Let us see how it like in the poem:
Women obscenity Every loving, stable, Gigling back.
There is no blood on the faces of
There is no soul sources
They did not fire heart
There is no other hope meal
Son demons of the night,
Paradise is no longer –
They narrow cave foul. In this part of poem is describes only a certain problem, only one deputy, using hyperbole (literally people who livein the big cities like a «broken» people therefore it is). At the same time claiming the fresh air of the city, where the love of instability and growing, which is the truth, it is a realism. The author of this negotiations an similarity contrasted nature: «Look, there are as many stars? // Smiling carried out only by moon. Here, the beauty of moon shown by diffenent moving and laughing, and it agreed to open the traffic and navigation. This small pictures are very impressive: just so beautiful images such a beautiful expression must be basically against any disaster. This is a signal to the opposite spectacle all lyrical character of freedom, a sense of Thirst tray descrives to the last section of the poem:
Do you want to sleep or , Why you are Sarsenbay Not singing the song ?
Drive your birth ,
Pampers country ,
Heart , why does not work ?
A handful of talking The lamp of my soul Chest padding .
Taste want Your lake.
These part of poem: the burning desire of the heart, the dust like the soul of the Saryarka, silk Tasting conditional based on the use of alternatives such as wind, the great passion, as well as ordinary people’s desire to sing song, eating sweets, Kausar means great emotions such as longing and taste of the lake. That is typical of the public from time to time ordinary people’s feeling, the effect of realism, however, work, mainly under the influence of romanticism, Realism is product of Romanticism.
As we said like other poets Magzhan’s romanticism, realism at all distances, to make sure it is not a stand-alone model, the poem » N-album» are the good example of it, some part of poem:
Life will be going,
Heart share a connection.
Has become the heart of coal Life will be held.
Tribute to expire.
Weddings touch of frost flowers,
Bulbul silent — just one poultry. Notice. Without the Sun
Golestan, a silent life free!
Silk words, space
Necessary killed, far away.
… A friend track
Extinguished candle goes out.
I will die soon.
A blessed month,
A blessed month, and certainly,
Kipciz Ayım. Erketayım success. Life mirage
You look mirage cunning.
Gold steam wash the soul!
And there was the day … inspires men wept.
You suffer weeping tears.
No, do not cry.
Do not ask weeping a day!
What is the idea?
It did not know you, flower!
This verse of the poem also accurately reflect the feelings of the people mostly landmark and explain the priority. For example, when lyrical hero suffer grief, sadness for what it is incurred, it is reflect that. For comparison, S. Mukanova «The death of a child» (1926). Take last part of the poem:
The image was buried in the same blood!
» Is there a soul ?! » Have you heard ?! The feeling of flags , a young tomb Lay embraced.
Here, the image of the child who died of feeling as he or she alive (mostly detail of lyrical character of the features and of its own), and even «soul?», I heard his cry whether finally understand that he is dead and a young lady hugged the tomb, which definite one cause of the pain, the type of lyrical heros detailed embroidery. But at the same time with a certain sense of wrapping, a poet, a poem do not have to do it. Artistic ran concurred in determining the size of the poem, but do not consider that it is obligetary. A wide variety of part of the poetry of the need to be so many. So describe types of poem is different it would be naive to say that it is the rank and file. This does not mean that: to make certain move away from reality shows Magzhan.
Without a doubt, » the heart has become a coal», read the paragraph lyrical hero is not vulnerable to the same feeling. His poem «life passes,» he began, «grieves the heart connection» in the last phrase, but we have been repeated with emphasis on certain stops (attention) affects drawing. Also give grief heart abstract concept, noticeable landmarks children, black and Coloured lyrical hero’s grief to imagine anything against the high level. So what does not growing generation of the tragedy, once again, the accent, the delay through the use of an alternative location reached. Thus, suffering because disclosing the specifics of the real sense of the behavior of the lyrical hero identified, but this feeling is so heavy emphasis. The lack of lyrical hero is displayed in grief no sense of originality, or at least not be only one must be suffering, not even a feeling of weakness. Magzhan’s poem behavior, different is not enough, but he is impressed by the high level of sensitivity. What is the sense of one of the most significant poets not be able to field the same feelings cause you climb the tower, thus the beginning of the birth of a unique personal feeling to the reader. Almost bound to the heart of a song, withering flowers, Bulbul Golestan, lyrical silk to be the word of the video, etc. an alternative to the traditional skills such as labels (symbolic sign) is the poet’s own rhythm, rhyme, accent, a kind of Top of the alternative to the use of a delay in tune with the receipt of clarifying. «Bulbul Golestan» Take that phrase. In 1907, the «status» in the book of Mashkhur Joseph Kopeyev, Nightingale and Karsiga mentioned. Nightingale dreamed of opening a red flower poem says:
And spent every night talking Priority thorny tighting.
I see the opening of a red flower , Long night boiling.
If we pay attention into the ancient literary we see that the nightingale longs floral the output of poetry, including models will see that tradition. XIV century Kharizm «Name of Love» epic of: » Flower Garden without nightingale is not garden,» he says. Nightingale and flower singing linked to face some of the XIX century in the works of Kazakh poets:
1. At the beginning of the tree miwa Sairam nightingale The guy later , leaving a red flower ,
( Abyl Tilewulı )
2. You ‘re not adding a song
Singing flower garden nightingale tone . (Segiz Seri Shagshahov )
3. We are one of the nightingale’s song Opened , you get a red flower. ( Musabek Bayzakulı )
Continue this tradition, a certain continuity an alternative to the above terms, would be to talk about the details. Now, using the same skills and self-expression of the alternative Magzhan’s poem: meeting the truble (meeting not people, abstract concept of the possibility like trouble), lyrical heroes faded (faded person, characterized by the fact that the fire), and with the lyric Hero sunset (literally, can not be a blessing to people like months), a lyrical image of the «mirage of water, steam gold», the second lyrical image of «waking grief» (waking than the abstract notion of suffering) crying etc.
Still, this is a romantic images of how many assuming, is the initiator of all this, one can not fail to pay attention to detail. He said: «What is the idea? //you shouldn’t know it sweetheart… «. Consequently, lyrical heroes of his characteristic sense: sorrow, etc. birese an alternative to traditional mark (of course, Magzhan advanced type, do not forget that); birese the cost of the phrase, etc. at the time of delivery of the assistance brought new details to see the triumph of romanticism, etc. (Lyric character «What is the idea?») realizmn appered, it can be seen. However each other pictures of the poet of romanticism and realism designed to secure break through, combined with growing. This engaging Magzhan realizmin, as evidenced by the romanticism.
Romantizmn main feature: completely different from ordinary, a unique, stand-alone feelings known to the fact. This is known scholar E. Ismailov (1960) showed that: «the truth of life brings over romantic style is not contrary to the principles of socialist realizmn describe the creative. Great glorified only when great Gorkiy may be convincing enough space to describe attention it should be paid to the truth «- a romantic descrives principle.
Telling the truth of life means other words, the truth of life interested in a romantic exaggerated Clarifying the word describeing. Devealoping Romantizm basis on a dream, has a long history of knowing not to receive a pro rata basis the facts of life, such as in the form of a ghost hint of creative principles. Romantic works, to the realities of life in the simple nature of the legal position is not surprising to see the beautiful landscape, imagination only conditional love, a disaster, in the form of waves» .
This is in accordance with the terms and conditions M. Zhumabaev’s poem «Sirim»:
If you let laugh, I will do it a lot If I cry falls black blood .
If I have enemy,want to drink their blood Death on its way to a friend .
Love a woman , but not you ,
I love your soul not the body . Physically identical question , assaults Love can meet death trap .
Loughing and tears are opposed concepts the existence of a vision. And finally here is not one laugh, laugh out mentally, crying, black cry from the blood. The poet, however, comes down to stop turning the original game, eyebrows, blood wish to declare that it is ready to die on the way to a friend. And, at the end of a woman from the infinite passion.
Focus, Magzhan lyrics at the character, it will be a matter of linking the poem heros. For example, «Korkut » poem Korkut; «Koilibai’s kobyz» twındısındagı Koilybai; «Batyr Bayan» The Bayan, etc. Which meet all of the normal life of ordinary people, not great, the special nature of the best person in the eye .
This is all the daily life of the poet in his high mission, anguish, desperation, Fine acting in an environment other than the legendary historical figures, inspired by the best heroes were born .
1 Асқақты жыр керек («Әдебиет жайлы ойлар» кiтабы iшiнде). – Алматы : Жазушы, 1968. – Б. 15-16.
2 Жұмалиев Қ. Әдебиет теориясы. – Алматы : Мектеп, 1969. – Б. 204-207; Қабдолов З. Cөз өнерi. – Алматы : Мектеп, 1976. – Б. 125-127, 364-365.
3 Фридман Н. В. Романтизм в творчестве А. С. Пушкина. – Москва : Просвещение, 1980. – Б. 32.