International Journal Of Literature And Languages
17
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue01 2025
PAGE NO.
17-20
10.37547/ijll/Volume05Issue02-05
Common issues of poetry in karakalpak literary criticism
(1990-2000)
Allanazarova Zukhra Jannazarovna
Assistant teacher, Department of Karakalpak Literature, Faculty of Turkic Languages, Nukus State Pedagogical Institute named after
Ajiniyaz, Uzbekistan
Received:
12 December 2024;
Accepted:
14 January 2025;
Published:
16 February 2025
Abstract:
General common issues of poetry were comprehensively discussed from a scientific point of view in the
Karakalpak literary criticism of the 1990s. The article covers literary criticism materials published in the Republic
of Karakalpakstan in 1990-2000 in the magazine "Amudarya" and newspapers "Erkin Qaraqalpaqstan,"
“Qaraqalpaqstan jasları”, “Ustaz jolı”
.
Keywords:
Periodicals, Karakalpak poetry, literary criticism, general issues of poetry.
Introduction:
One of our experienced critics, G.
Esemuratov, who also objects the literary heritage of
this period to modern Karakalpak poetry, puts the issue
of conscience in poetry on the forefront, while S.
Akhmetov and K. Orazimbetov correctly observe its
distances, saying that "the literarature is in directions."
J.Esenov said that in poetic life it is necessary to give a
name "for the pearls of truthful, deep-spirited words,"
while talented young critics H.Otemuratova said "You
are the star of poetry!"Z. Bekbergenova connects
poetic works with national folklore traditions and
compares them with them in order to introduce a
literary-theoretical problematic quality to her
thoughts, T. Mambetniyazov closely connects poetry
with the period, B. Genjemuratov as a poet-critic also
highly appreciates its novelty and deep thinking,
symbolic-metaphorical,
figurative
qualities.
Q.Jarimbetov, Q.Orazimbetov, P.Nurjanov built their
opinions about our poetry around theoretical issues. All
this testifies to a broader and deeper exploration of the
multifaceted secrets of the national art of speech in the
literary world, the striving of his research towards
scientific and theoretical depths and new aesthetic
spaces. Taking these circumstances into account, we
think it is appropriate to pay more attention to the
specific issues raised by literary criticism. As one of the
master critics, G.Esemuratov, rightly said: "Slow-
mouthed people say that Karakalpak literature has
stopped developing in recent years... These years,
especially in poetry and prose, the struggle took place
in spite of the difficulties in writing. Many young people
joined us." In fact, it is difficult to refute this opinion of
the critic, and he strongly confirms this opinion in his
article with many examples, facts, literary textual
materials about the glorification of the issue of
conscience. In fact, the poetry of any era, humanity in
general, the most important thing for humanity is
conscience. This is a topic that politics and ideology do
not ever choose.
As the critic correctly pointed out, this issue began to
be boldly raised in poetry in the last years of the 20th
century. It is clear that this may have been caused by
the political and social restructuring, followed by the
moral climate brought by the market economy.
Therefore, as the critic correctly pointed out,
conscience in the works of M. Nizanov during this
period:
“Hújdan” degen qam sózdi, (A "conscience" is a word,)
Bir somlıq tıyınǵa baylap beremen (I'll put it up for a
kopeck)
It is said with deep irony. What sharpness is there in
this, a thought that "does not slip."As Genjemurat
Esemuratov felt very deeply, the poet does not say
these things for nothing, without justification.
"Recently, the changes that have come from the side of
life have completely changed the nature of people."2
The critic managed to effectively express this issue with
the following lines of N. Toreshova:
Muz. Muz. Muz... (Ice. Ice. Ice...)
International Journal Of Literature And Languages
18
https://theusajournals.com/index.php/ijll
International Journal Of Literature And Languages (ISSN: 2771-2834)
Maǵan tutqan gúlleri de muz
, (And the flowers they
gave me were frozen.)
Maǵan sozǵan qolları da muz. (His hands are frozen as
they reach out to me.)
٭٭
Qattı tońdım, (I was frozen,)
Qaltırawdaman. (I was trembling.)
Jıllılıq tappay átirapımnan... (There was no warmth
around me.)
Kúlkilerim muz... (My laughter is icy.)
Dúnyanı qorshaǵan mına muzlıqtan, (From this glacier
that surrounds the world,)
Mende muzǵa aylanbaqtaman. (I am turning into ice
either.)
Indeed, as the critic says, the poet himself and the
lyrical hero "seek sorrowful, like-minded people to
share what they have learned from life, but they cannot
find it," because all their actions are false, superficial or
"ice" in the lines of the poem. Usually, such poems
were criticized as "pessimism" during the Soviet,
communist ideology. Democracy, the ideology of
independence saved even a little from them, and this
gives birth to the following lines of our brave girls, such
as M. Jumanazarova, as G. Esemuratov aptly
quoted:Sonshama ınjıqlıqtan,
Tiyesiz kóp jinime, (You make me angry)
Mártlikke dım ıntıqpan, (I'm passionate about courage,)
Urıspań sókkenime.(Don't fight me.)
Bunshama kúyinemen: (I'm so sorry:)
Qızların xan sorasa, (When the khan asked their
daughters,)
Gellesin alǵan xalqım,(My nation, who have killed
them)
Bir t
eńiz qurıǵansha, (Until the sea dried up,)
Ǵáplette qalǵan xalqım (My ignorant nation)
"Does not poverty, sorrow, and dream mingle like a sea
of bitter truth?"1 In this way, the pathos of criticism are
vividly united around the conscience, the people and
the nation, the honor of the human being as a whole,
and the voices of the two different writers sing
together. The struggle between the literary process and
criticism for mutual honor is also known in such places.
See how the critic quotes such bold, sharp, and honest
words from the poet's poetry:
Óldi, sup-
sulıw ármanlar óldi, (The dead, the beautiful
dreams are dead)
Óldi, ahdıw
-paymanlar óldi, (The dead, the faithful, the
dead,)
Óldi hújdan, iyman hám óldi, (Dead conscience, and
faith)
Bilmedim kim qay jerge kómdi. (I don't know where
they buried it)
This really sounds like a real "conscience call." This
direction is continued in the article of critic J.Esenov in
the form of a review of our poetry of recent years, in
which the truthfulness of the spiritual depth of poetic
art is highlighted. During this period,..."compared to
other poets, I. Yusupov, Kh. Davletnazarov, B.
Genjemuratov, N. Toreshova, M. Jumanazarova, O.
Satbaev, and others wrote openly and painfully,
without honestly hiding the difficulties and spiritual
and moral contradictions of the years of market
economics." Thus, he proves his thoughts with
impressive examples taken from the poetic works of
the poets whose names are given. For example, from
A. Ajiniyazov:
“...Tilinen uǵar adam bolsa, (..."a man who speaks well,)
Sóyler edi Qazaqdarya (Qazaqdarya said)
...Samal duzlı shańǵıt sewip (....The wind sprays salty
dust...)
Alakózge aza tutıp, (In mourning for Alakoz,)
Tola tegis záhár jutıp, (Drinking full poison,)
Gúńirenedi Qazaqdarya,(Qazaqdarya yelled)
Terbenedi Qazaqdarya” (Qazaqdarya
swayed)
“Fond ashıw maqset emes, (Opening a fund is not the
goal.)
Meshkey degen jaqsı at emes,(Meshkey is not a good
name)
Ernazarabad dep Nókisti (Calling Nukus as Ernazarabad)
Aytsaq hesh kim yaq demes, (No one will say no.)
Jawıń bolsada yaq demes.”(Th
ey will not refuse their
enemy")
“Yaq!”
-deydi tek qaraqalpaq, (No!" says the
Karakalpak.)
Bizdi qurtqan-
usı
-yaq-yaq! (That's what's killing us-no-
no)
Sorlı xalqım way
-way, waq-waq! (My poor nation, wa-
wa-wa!)
Dártim qalıń, qabat
-qabat!(My sorrow is much)
Q
aydasań,
Ernazarabad!
(Where
are
you,
Ernazarabad!)
"This," writes J.Esenov, "is a way for the poet to express
his inner feelings, as a special way of showing the
breadth of the lyrical hero's chest, freedom of thought,
independence...." "In it, the poet's inner experiences,
his apologies are given from the bottom of his heart,
and he is called a volcano with honesty and pure heart.
International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
Therefore, his poem is not based on a pre-prepared,
cut, narrow table, ready sleep, but on the natural
rhythm in the thoughts and feelings that burst from the
poet, the natural wind, the art of the people. He
critically analyzes the works of talented poets around
honesty, truthfulness and spiritual depth in poetry. In
particular, he confirms with concrete examples the
courage, bravery and courage in the poems of
B.Genjemuratov, the depth of thought in the works of
O.Satbayev, the sharpness of comparisons, the
importance of emotional and courageous, humanistic
qualities in I.Yusupov's poetry of recent years. For
example, B.Genjemuratov:
Kárwandı baslaǵan aǵalarımnıń (My brothers who
started the caravan)
Hám izime ergen inilerimniń, (And my brothers, who
followed me,)
Sada uǵımınıń gúlzar alabı (The flowering valley of
simple humanity)
Jubata almaydı erteńgi kúndi! (They can't conso
le
tomorrow!)
Tamsanıp sorıǵan qoraz kámpiytti (Sucked the candy)
Nárestege megzes búgingi kúnler, (These days are like
babies,)
Sezinbeydi óziniń jalań putlıǵın! (Don't feel
nakedness!,)
By O.Satbaev:
Jan táslim eterde jaralı qulan, (The wounded in
surrender,)
Ílaǵın bir iyiskep, jalap óledi. (Dyes by sniffing little goat)
Shaǵarǵa hesh nárse tappaǵan jılan, (It's a snake that
doesn't find anything.)
Sońǵı demde ózin orap óledi. (At the last moment, he
dyes by rolling itself)
...Iytler ólimtigin taslaydı awlaq (..The dogs throw away
the death)
Qırǵawıl óledi ot kibi lawlap. (The falcon died like a fire.)
Taw qalay ólerin bilmedim biraq, (I don't know how the
mountains die,)
Vulkanlar suwınıp sulap óledi. (The volcanoes will cool
down and die.)
Ólse suymırıq qus óz
-ózin búrip, (But the snipe turned
itself up,)
Qasqır ayǵa qarap ólermish ulıp, (The wolf stares at the
moon and dies)
Quwraǵan daraqlar óler tik turıp, (Dried trees dies by
standing erect)
Al, adam bárine shıdap óledi.h.t.b (And a man will
endure everything and die.")
So, through such concrete facts, the critic literary critic
expressed his views on poetry of recent years in a
convincing way. Such poetic texts, appropriately
included in the composition of the article, stimulate the
aesthetic feelings and spiritual world of non-specialist
readers. They are interested in poetry. Also, since all
these poetic works were created in the years of
independence or reconstruction, it is a positive
phenomenon that they were subjected to literary
criticism in time and made certain conclusions in
literary aesthetics.From this point of view, it is
appropriate to pay more attention to J. Izbaskanov, K.
Ayimbetov,
K.
Karimov,
N.
Toreshova,
B.
Genjemuratov, Kh. Davletnazarov, S. Ibragimov, M.
Jumanazarova, O. Satbaev, A. Utepbergenov, while
observing the paths of progression of poetry in recent
decades. According to them: "In Jiyenbay's lyrics,
there is a subtle feeling, a desire to convey the thought
as beautifully as possible and metaphorically. There is
no thoughtfulness in it. There is a desire in the poet to
show everything beautifully." Hikmatulla strives to
understand life in its entirety and to depict it in such a
way. A number of his poems contain the best examples
of symbolic imagery. And Kenesbay is inclined to create
metaphor."1 These thoughts undoubtedly lead to a
correct understanding of Karakalpak poetry at the end
of the 20th century and demonstrate the activity of our
literary criticism.
REFERENCES
Esemuratov G. Poeziyada hújdannıń jırlanıwı.
“Qaraqalpaqstan jasları”, 1995, 23
-mart.
Sonda......
Esenov J. Haqıyqatshıl, ruwhı tereń sóz marjanları
ushın. “Ustaz”, 13
-may, 1999.
Axmetov S., Orazımbatov Q. Ádebiyat kóshi mánzillerge
asıqpaqta. “Erkin Qaraqalpaqstan”, 7
-yanvar 1995.
Axmetov S. Qaraqalpaq ádebiy kritikası hám ádebiyat
iliminiń tariyxınan. Nókis, 1980, 9
-bet.
Sultanov Q.Jańa dáwirdiń poeziyası.
-
“Qaraqalpaqs
tan
jasları”, 15
-fevral, 1996.
Sultanov Q. Ómir tolǵanısları. “Qaraqalpaqstan jasları”.
24-iyul, 1997.
Sultanov Q. Kewil hám júrektiń poeziyası. ”Erkin
Qaraqalpaqstan” , 9
-fevral, 1999.
Paxratdinov
Yu.
Jaslarǵa
júregi
jaqın
insan.
“Qaraqalpaqstan jasları”, 21
-mart,1996.
Esenov J. Jarılıstan tuwılǵan qosıqlar. “Qaraqalpaqstan
jasları”, 24 aprel, 1993.
International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
Bayniyazov Q. Allanı umıtpayıq. “Ámiwdarya” ,
1997,№12, 104
-108 bb.
Qálimbetov B. Shayırlıq lapız
-
“Ámiwdarya”, 1990, №8,
94-96 bb.
Qálimbetov B. Oy tolǵawına salǵanda .
-
”Ámiwdarya”,
1991, №;5; 89
-94 bb.
Nurjanov P. Shayır seziminıń sháshmesin izertlep...
“Erkin Qaraqalpaqstan”,14
-avgust,1993.
Bekbergenova Z Bir buwattan úsh gúl. “Qaraqalpaqstan
jasları”,
----
pikrlerdiń tereńligi ushın.
Qayırbaev
J.
Tursınbaydıń
tuńǵısh
toplamı.
“Qaraqalpaqstan jasları”, 16
-iyul, 1998.
