Esentaeva A. Madibai K.
THE ARTISTIC ASPECTS OF PROSE WORK “ADIL-MARIA” BY
SHAKARIM KUDAIBERDIULY
Shakarim Kudaiberdiuly is a
dynamic personality who made a valuable contribution to spiritual expansion of
his epoch. His various artistic legacy is an outstanding phenomenon that is
divided into parts, parabolized by steady values, and keeps hold on current
generation with its very meaning.
One of his great
creative works that richly declaimed national welfare in any direction is “Adil-Maria”.
This piece of work was called “Sorrowful novel” by its author Shakarim
Kudaiberdiuly and was isolated for a long time and eventually published.
The boiling hot
artistic talent and sparkling, iridescent, and bright character of Shakarim in
this long story attract the readers.
We cannot say that the
shining and goodly figure of Kazakh emphatic speech, its power that is able to
destroy a castle, its trembling and movement that attract a soul, its hardened
and strong sincerity at the beginning of the 20th century, the literary
development at that time, the measureless influential and powerful potential in
terms of tradition formation and opening the artistic space of literary genres could
be totally systematized in the content of science and purpose and get its
evaluation at present. However, it is spoken about the artistic nourishment, particularly
fertile, exceptionally natural image of a prose at the beginning of the 20th
century in the works of certain researchers. Moreover, the route to direction
forming within a framework of perfection of Kazakh art of writing is being
realized and its different areas are being completed.
It is about time to
open all the hidden values and masterful techniques of shining speech that are
considered to be a pearl of Kazakh literature at the beginning of the 20th
century. These values are being analyzed more in the context of freedom-loving
hunger and historical basement.
All words (poems
and proses) of Shakarim thinker, whose speech is clever and bright, lead to
rich and endless space.
One of the creative works of
Shakarim called “Adil-Maria” is complicated and allegorical. Its artistic
structure, method of narration, description, and lively creation show the
unique spirit and language of a writer.
Shakarim put all his ideal and spirit into
this language. This language shows the convention where presupposition and
prediction are united.
There are isolated
words on the language layer of “Adil-Maria” that became rare and connected with
the origin of national language.
In “Adil-Maria” everyone
does not steal a word from each other, and all of them use their own knowledge
in spite of ignorance.
There are
statements that were known and spoken every day by people at that time, asked
“what is it?” by next generation, and supposed to be ancient by new generation.
Who owns these statements that
make think about the multilayered history in ancient Shyngystau (mountain) and the conditions
of people at that time? Does Shakarim prove himself or is it one of the well-known
language dark pits of people?
It is not easy to say something in this view
besides real language researchers.
There is something
cold that informs the dead-hearted and sorrowful direction of a story in the
introduction. There is a fertile, powerful, and vivid language that can describe
critical conditions and the bitter truth. If it was easy to do that, Shakarim
would not be Shakarim!
Abai said “It may
seem as it was yesterday”. Shakarim, who followed the wisdom of a great
brother, in this work led the new direction of Kazakh prose at the beginning of
the 20th century towards the world artistic field.
The intervenient crossings
between eternity and instant, deep gulfs, bottomless abyss, warm light that
gleams in the chains of cruel, dreadful, and ruthless everyday life, sunshine, the
dense green grass…
It seemed that I
felt the mystery of such statement in the immense language space of Shakarim
while holding on and thinking deeply. Perhaps, the narration of Shakarim is
directed to absolutely another idea.
The tiny place dug for
the owner of a soul that was knocked down by the gusts of wind of that time is Shyngystau.
It is also the witness of lively and fiery moments. It is careless about
cruelty, grief, joy, predilection …
Moreover, it holds arms out
during short days in the east and during long days in the west and calls with its
silent voice: “Come!
Come! Come here those who want to feel either pleasure or torment and live
short life struggling for existence”. [1, p. 493]
Here “short days in the east”
seems to be the short life of a person, “long days in the west” – death gates
connected with eternity.
The things that
hint in the creative work show the capacity of Shakarim to foresee future
events, substantiate novel and story writing methods, understand, feel and
absorb the process of world prose development of his time.
He lets know where
the point is and narrates the shocking details of that time. It seems to be
narrated, on the one hand, the demand of nature, fussy condition of impatient
life full of movement, on the other hand, human destinies gone with wind…
“At one time
yesterday (in 1910) in the middle of amal
month there was a snow-storm and the blowing wind made snow melt and its cold
was good for animals but for those who were helpless as a rolling stone was
cruel and led them to falling cliff or made them fall into the deep well.
Moreover, it overturned the turf
of some areas and took the green grass like teenagers to a foreign land” [1, p. 493].
The green grass
taken to a foreign land developed, even expanded the description of green hills
in the poem of Abai “Springtime”.
Thousands of phenomena, mystery,
momentary heat, exaltation, glimpsed, swift-passing, inconstant enjoyment…
To think about
severe winter on mild and warm day of May. A soul owner who has imperious power
and limited energy.
The pen of Shakarim
describes the warm features of Shyngystau in May that is usually careless about
inhabitants around.
“You, old Shyngystau!
It seemed to invite like: This way! This way! Come on! Come on! When it smiled
warmly, its light wind swayed green grass, the leaves of birch and poplar and
seemed to say: “Hero, can
you see people? Did people return again?” [1, p. 494].
The author in his creative work
took the dialogue speech in a dramaturgic sample. We can notice in the works of such writers as Zh.
Aimauytov, M. Auezov, etc. that the samples of using dialogue speech did not totally enter the Kazakh prose at the beginning of
the 20th century.
Shakarim pointed at
equation of event directions, confusing moments due to the comparative
description in artistic prose.
The village of
Torebek mayor and Erkimbek were narrated racing each other to tell about Adil,
the son of Zhaksybai. We can notice haughtiness, self-confidence, and self-determination
from the words of Erkimbek whereas Adil is weak, embarrassed, and speaks uneasily
in a language mixed with doubt and hope.
Shakarim aimed at
using the ways of writing that make his readers feel the fear and danger from
the narration and make the story close to truth.
The word that was
said by Adil is not good omen when he sat on a horse heading off to the side of
a girl.
“I have never been to your village before.
I have never made approaches to a girl,
If I die with you, I will die for my faith,
I won’t regret if I am sent into exile because of you”
[1, p. 499].
It seems that Shakarim connected
the circumstances of Adil and Maria, their engagement, the death of their
parents, with the circumstances of Kozy Korpesh and Bayan. Little brother of Maria broke his
promise, made an angel abandon the road. The crazy behavior of Torebek mayor does
not want even to pay attention to Adil orphan.
The current of events is narrated
rapidly with speech pauses, scenes, and description. There are appropriate, clear
description, and details. Giving two phenomena simultaneously in his creative
work shows that the author gave a sample of French novels of the 19th
century.
“That night he was
coming as if he had a matter of great urgency”. [1, p.
505]
The words of Maria make believe. How wonderful that she
is considerate and she knows the customs and traditions of her people. She
speaks directing to Zylika even she loses hope, even she is scared that a
person who was beaten may be Adil. This character of Maria is a detail that
opens the notion of upbringing of Kazakh girls.
“Zylika: – My, my! One of
them was brought dead!
Maria in a
trembling voice: – Sister-in-law, isn’t he your
husband?” [1, p. 505].
Shakarim Kudaiberdiuly expanded
the spiritual and aesthetic field of literature in the direction of enlightenment
due to the novel “Adil-Maria”.
References
1. The creative works of Sh.
Kudaiberdiyev. – Almaty: Writer, 1988. – p. 560.