K.Zhanuzakova, A.Onalbaeva, A.Koshekova

Doctor of Philology, Associate Professor,

Kazakh State Women’s Teacher Training University, Almaty, Kazakhstan

The novel “Adil-Maria” of Shakarim Kudayberdiuly

The novel “Adil-Maria”(1925) is one of the fundamental works of Sh. Kudayberdiuly. It is called “Tragic novel” and it has a big meaning. Two lovers can’t be together, in the novel you can see the dream of eternal love, which is not reached. Shakarim’s choice on the theme of love in East philosophy proves his attention on sufi philosophical-aesthetic tradition. And it fits to his individual spiritual development conditions, and intuitive sensual acceptances.

The story of the novel was processing in the beginning of ХХ century in the line of traditional Kazakh novels. Adil and Maria engaged by agreement of their parents, but there was a barrier to be happy together. Selfish and single-minded Erkimbek parted two loving hearts. He went to brothers of Maria; however he couldn’t reach his goal. That’s why he belied Adil and he went to the jail. The novel continued as a tragedy. Erkimbek used threats to Maria’s brother, but it didn’t give any results. At the end he killed two lovers. Adil and Maria were killed, but Erkimbek couldn’t win their true and strong love.

The novel’s realistic line described Kazakh lifestyle, behavior and psychology of people. This work started from lyric thought about Genghistau.

While describing the story “entering” of the author to the plotline, thoughts about nature embroidered the story. Genghistau as character participated in the story till the end of this work.

With the author’s strong, great, special feelings were arrayed romantic images of nature. Shakarim was inspired by old Genghistau mountains. We can see language of dedication and emotional colors in rhetorical questions, exclamatory sentences, poetic inversions, repetitions (anaphoric repetition of words “talay”(lot, some, considerable), “sende” (by you, you have) etc), poetic antithesis (“You got the good days, and you got the bad days”, “one day delight another day agony”, “soundless voice”), etc.

Character of the mountains got prettier in a graceful method and made a beautiful, aesthetic effect. Repetitions intensified the lyric melody; they played novel’s space differently.

Narrator is not just telling the story; he let us know about his relation, feelings, pleasure and grief. He engrosses in thoughts, experiences the story with characters, and makes Genghistau as a bystander. We can see the narrator’s careful and attentive attitude to destinies of characters. While telling the story, sometimes the narrator addresses to the reader. Starting with address “Dear pupils!” he describes the separation of two lovers, Adil’s cruel days in jail, his feelings, joyance, and consolation. These thoughts show Sharakarim’s feelings and authorial values as a person, a narrator, and a citizen.

In the novel it seems that nature is “alive”, mountain can “speak” and has its own mind. Mountain stands up for two lovers, and supports their love. Full moon in the twilight “talks” with mountain, and become an eyewitness, defender, provident of Maria and Adil’s love. The full moon saw the first love of two young people, and with “soundless voice” talked to old Genghistau: “Dear Elder! What a big desire of two lovers? Is there someone else? Do they have another wish, except being together? Have they been like that before? It seems two lovers can’t live without each other”- old Genghistau rose up from deep ravine and answered: “You didn’t see… This happened in the day-time that’s why you couldn’t see it” [2, 20]. After that he told about their first meeting, their love at the first sight, marriage brokerage of two sides.

The nature image in novel of Sh. Kudayberdiuly – is one of the main, important, elements. The landscape description gives the main entity of the story; it adds lyric color and melody to the story. The dialogue of moon and mountain, “enliven” nature in this way was the first time in Kazakh prose. In the novel the old Genghistau became a certain lyric character. He is a bystander, observer, participant of this dramatic story. Narrator can conceive natural phenomenona in the level of unreal world; he can penetrate to the heroes’ feelings, ambiences. Alternation, network of real and unreal worlds in perception, mind of narrator shows the perception concept as an eternal life. Narrator accepts nature (Genghistau) as a big universe. He gets on well with nature, remembers experiences in his life, and tells about joyance and grief. It is coinciding with B. Maitanov’s words: “Genghistau mountain – is a pure symbolic character. Old Genghis gushes with Adil, who was born in his root. Assimilation, stowage approach of description is dominated. Genghistau and penman-author are close friends. Author is unbound in his speech. Endear like child to his father. Ask about setting apart from mountain-mother and sky-grandfather. Unity of nature and human’s world. Allude about social life contradiction of monish meaning of landscape, furious sadness” [3, 30].

In the novel Genghistau was in phase with the hero’s psychological situation. Landscape scene hints the future developments of the story. When rural police sergeant came to village and imprisoned Adil, the hero’s disposition and nature’s behavior were interrelated. “ At that time sad black cloud came from Genghistau, it evolved to windstorm, and sleet started… At that time started these phenomena. Was it your attitude to Adil?...” [2, 52] – “black cloud”, “sleet”(in italics) show us hero’s disaster and sorrow. Also in this fragment we can see narrator’s compassion and sincere feelings to his hero. He and mountain felt with Adil.

We would like to make attention on dominating of lyric-romantic melody than realistic example in Sh. Kudayberdiuly’s novel landscape. In the novel “Adil-Maria” we can see many oral tradition methods like garrulous forms, instances of description. In work structure we can see such phenomenon like patterns of poetry and prose contention, which are continuing over the centuries. The differences between the novel “Adil-Maria” and other lovestory works are unique narrative style, lyric colour of story.

In story of B. Maylin “The sign of Shuga” Abdirahman’s, in the novel of S. Toraygirov “Kamar sulu” Akhmet’s hopelessness. They couldn’t show the strength. In novel “Adil-Maria” Adil resist for his lover. He is spiritually strong who can resist against violence. The overcoming many resistances for the sake of love, humanism, he is not sparing himself and struggle with the difficulties show us the spiritual highness and toughness of Adil and Maria.

Sh. Kudayberdiuly’s work is closely related with his metaphysical worldview. In his philosophical concept it is important to oppose alive and dead, life and death, high and low. Even if they live they are considered to be dead - low world representatives, because they have no honor, no mercy, they have never had real love.

In love theme works of Sh. Kudayberdiuly we can see East literature influence. Shakarim’s connection with Sufism world was strong, that’s why love for him had a cosmic meaning, it was a step for absolute knowledge – to feel the God. In our opinion, not only in lyric works of Shakarim, also in the novel “Adil-Maria” we should understand that Adil and Maria sacrificed for pure love, and they died together, Erkimbek stayed alive.

In his work he shows and emphasizes metaphysics like religious-romantic motive, life and death, good and badness; strive to achieve the truth; soul of person who is living there. Writer’s main direction is about the soul of person as an individual, secret and particular person. The lyric characters’ souls of writer based on deep religious paradigms, spiritual sense archetypes. Immensity of spiritual addition of East and West instructs network worldview paradigm to morality, love, cognition, self-development, ethics issues.

Writer derives issues of person’s soul, spirit, honor and morality from the worldview, methodological side.

Reference:

1 Kudayberdiuly Sh. Novel, words of edification, articles, translations. – Almaty: Zhibek zholy, 2007. – 2 t. – p. 440

2 Maitanov B.K. Kazakh novel and psychological analysis. – Almaty: Sanat, 1996. – p. 335