К.Ф.Н. Жамбек.С.Н

Республика Казахстан,г. Кокшетау

Кокшетауский государственный университет им.Ш.Ш.Уалиханова

Mythological figurativeness in Kazakh poetics.

In artistic space or in the author’s creative works a special place is occupied by the social contrast (the developed subject matter). These phenomena, being formed from the worldwide and natural universals, enveloping the ontological signs of existence (life and death, day and night, fire and water) and the antinomic origins of humane existence are the anthropological fundamentals of spiritual source of universal existence (good and evil, lie and truth, pride and worship, scorn and submission). These fundamentals are particularly revealed in the poetical heritage of Magzhan and Berniyaz, who are inspired in the light of great Abay’s poetry. At the same time, enumerating these eternal and everlasting themes of literature, it is worth noting that cultural-historical and existential segments of the author’s cognition impress the reader with their elevated description of poetic fragmentary heritage.

In the subtle poetry of Magzhan, the illusory essence of existence and its unusual perception of the world are illustrated vividly and in bright colours.

In the theory of poetry of intellectual literal thinking such categories, connected with human existence as fire and water, death and life, are the perpetual topics. A poet perceives the cosmological categories of spiritual conceptual figurativeness through the spatial disposition. An artist perceives the truth of existential objective reality while finely describing the beauty and the harmony of the world.

One of such ontological descriptions can be traced in the following work of Magzhan, (word-for-word translation):

Oh, summer is gone

And snowdrops disappeared

Oh, how much sorrow and wrinkles,

Delusions, strivings and secrets.

In this pitch-dark night

Seeking shelter in darkness

The earth is sobbing, crying with heavy clouds.

And the sky is frowning, not a fine day

The flock of clouds are wandering

Casting a shadow on earth

A lonely cliff feels depressing

Melancholy, grievous, distressing.

The ways of ascertaining the epithets and allegories are conveyed through that natural phenomena and seasons; snow-storm, blizzard, fog, cloud, summer, winter and autumn are the descriptive means. World antinomies are interpreted together with the ancient values of human spatial spirituality. These phenomena pursue the human being from his very birth, and are eternal questions of ontological existence.

“As old as the world, silent dream”, “the wind, created by the poet Apsun” – this is to what these mythological images of poetic art appeal. In this artist’s sketching, one can trace the following maxims:

Perpetual mute dark wood

Where the dream leads me, where I got?

Like the wind stirs, winding on

Pitch-dark prism of reverie

Strange thought occur

So mysterious is this prodigious wood.

Mythopoetical figures of the poet sing of the beauty of feelings and senses. If to set free the mind from its shrouding, then the spirituality seems to triumph and exult, going through the labyrinth of cosmogonic world. The part of nature is eternal, silent, and as calm as peace, and as infinite as outer space. The author appeals to the wind, raising a restless blizzard in the humane hearts, and this is regularity as well. Wind serves as the stimulator of immovable mater. As to the lyric character, he seeks for perpetual peace, coming in unison with harmony of the nature, and holding out his hands to the pitch-dark wood.

Like a mysterious wood, I will fall asleep

Enjoying eternal-eternal dreams

And the wind will tickle me

Awakening the poet from everlasting dream.

In the existential understanding, if a soul – is an eternally sleeping wood, and dreams – are the beauties of the world, the wind, created by the author is the awakening of a human essence, (word-for-word translation):

Tears run down laughing

What a laugh through tears?

It’s just unearthly reveries

Laugh and joy, otherwise – death

Vanishes tear, tear disappears

After a wave rushes another

Wave, dying away, laughs

Laugh through tears, tears through laugh.

In this work the living powers of the nature are interpreted simultaneously with the humane feelings. It is difficult to understand the figurative dynamics of the poet’s spiritual intellect.

As to the poetical heritage of M. Makataev, there is described the spirituality of a mournful existence:

Myriads of lanterns flamed up in the sky

Millions of candles play bright on the Milky Way

The Universe is sleeping a calm and deep sleep

Mountains are sleeping, soul is dozing, in oblivion are the expanses

The night frightens me, there is no rest

As if flowers of magical cover are picked in the garden

What if to fly away to the other world

In chase after sun, so clear and bright

Oh, where is my golden eagle?!

Why it’s so vain around

What for is this fear, and this alarm

The life is bright in the daylight, and the night is so awful

Oh, where are my eyes, and my placid soul.

A poet, perceiving the bright side of the life, renounces the darkness. An artist, using an allegory tries to recreate the world of light and colour. But the lyrical character is at the cross-roads, he is seeking for the everlasting peace and the land of everlasting dreams, nightmare. This is what dilemma means, which is on the poet’s way. Mythological figurative thinking of an artist harmonizes with a mythological symbolism. “A talented true poet tries to revive the real spiritual world and only he can recreate the mythology of the existence”, asserted Shilling. We should realize a mythological basis of poetry as perception of art and the methods of perception of the world. The archetypes are the basic colourotits of symbolism. They (archetypes) constitute the basis and composition of the work of art – they are the kernel of the subject, the basis of fundamentals of the spiritual being. Archetypes connected with traditions, customs, beliefs of different peoples have different semantic essence and artistry. “Mythic archetypes never disappear, they just modify. One of the lingual analysis’s tasks is the ability to find different archetypes”, writes to this effect Fry W. B.

In the poetry of Tynyshtykbek Abdikakimov different mythological symbolisms and mystical elements are depicted. In his works the darkness is described as a fatal beginning of a mysterious.

This night is so dreadful and cold

It advances on you like a sword

It overtakes you like death

Having illuminated and aroused

But the soul is tranquil

This night – is so crafty and ill

It devours you like a flame of a dragon.

In the poetic interpretation, one-toothed dragon – is a month, and horror – is the night itself. On the whole, most of poetic archetypes of the poet are connected with the cult of shamanism and its characters – are genies, devils, peri, death, hordes of Iblys and Satan himself. Most archetype images of the poet’s intellectual perception of the world are connected with the cult of domestic animals’ mythologism. For example: my camel foal; a splendid foal; a wandering ship of desert my camel foal; bleats so plaintively a lamb; ship’s eyes – like the beams of the sun, and so on.

The above enumerated animal mythologism and the figurativeness of the thought is to be traced in the works of Berniyaz Kuleev as well:

…the mountain is like a sleeping lion

Reaches the celestial maidens

The mountain is like an ardent dragon

The whole world is carried away by this beauty.

“The sky is as beautiful as a murmuring brook”, “neither star, nor the moon all around”, “as if plays in the life-giving water”, “myriads of stars”, “like a girl with fiery eyes”, and there other epithets, hyperboles, allegories are to be met. The poet paints a vivid picture of the poem’s nature with mythopoetic figurativeness and mythological system of intellectual poetic historical origin.

In the creative researches of Ulukbek Yesdauletov the existential motifs of an artistic thought are to be met as well:

As if a huge star tree is crooked down

And moon took refuge, amazing everything around

Myriad of stars made the night sky brilliantly bright

The life died down, and the native lake is quiet.

In the poetic figurativeness the moon is like a fiancée, “she” is graceful and flirtatious. And stars are scattered reminding of Kazakh rite – “shashu”. This mythopoetic figurativeness of the poetic creation is the parallel of the Kazakh ceremony of seeking in marriage (making proposal). This is an archaic symbol.

We come across different kinds of epithets in Ulukbek’s works. “Almaty is scattered on the valley like a herd of sheep”. And the questions of rational thought of an artistic merit are broached in the works of another Kazakh poet – Kerym Yelemesov. Here is another example:

The night is so dismal, such a pitch darkness

If summer will come, will over be winter

And birch – is the beauty

No sorrow, she is rejoicing

Ancient myths thus reminding

She will dance gracefully

She will sing happily.

The contrast of mundane existence is also depicted in the poems of B. Kuleev:

Heavy clouds obscured the sky

There is no sun, there is no moon

Lightning and thunder, loud are the peals

Element and power of unpredictable nature.

And in the works of M. Makataev:

Not a bird’s cry

Not even its highlight

Senseless life, flowers faded away

Dreams are gone together with peace.

Such motifs harmonize with a natural existence of the humane origin. Psychological parallels are reproduced and embodied into vital philosophic realias. From the ancient times the eternal topics of humane existence constitute the archaic symbols of archetypic prototypes. The eternal context of poetic text serve as the basis for many mythopoetic schools. The representatives of these schools are: Brothers Grimm, F. I. Buslaev, N. Fry, Z. Freud and K. P. Yung.

The researches of mythopoetic trend in the poetic art are mentioned in the works of such scholars as Y. M. Menzhinskii, V. N. Toporov, D. Y. Maksimov and others. In the poetic traditions of Magzhan Zhumabaev one can find enigmas and mysteries, revealing the essence of objective reality. The poet sings:

Oh, how wonderful is the ocean depth

And the murmur of the ocean waves

In the heart – 60 houses and worlds

Marine homes, dreams of velvet, and pearls.

There is a star beauty in every house

Wave hair, shine of pearls are her eyes,

Keeps repeating as if lulling a child:

Oh, “әлди-әлди”, my wave “әлди-әлди”.

A subtle nature of poetry making is weaved of wise words in the poetry of the poet. Myth making and mythologism constitute the fundamentals of all. The poet sings of enigmas of the universe and the mystery of spiritual nature through the sensual maxims of perception of the world.

The poet engenders wise word

Camel, I remind of your back

Young camel seems to strive for the dream

These speeches, oh, how they are sweet

How great is the poet, singing of word.

Concluding our observations on the topic, we would like to say that mythopoetic figurativeness, myhtogeme of the thought, occult perception of the world and various symbols influenced the development of esoteric natural symbolic phenomenon – the Kazakh poetic literature.

List of works consulted:

1. Toporov, V.N. Myth. Ritual. Symbol. Image: “Researches in the field of mythopoetics”. The selected. – Moscow, 1995

2. Maksimov, D.E. About mythopoetic origin in Block’s Lyrics. Preliminary notes. – Leningrad, 1986

3. Melitinskii, E.M. Russian poets of the beginning of 20^th century. – Leningrad, 1986

4. Zhumabaev, M. Creative work. – Almaty, “Zhazushy”, 1989

5. Makataev, M. Zhyrlaidy zhurek. (“Heart sings”). – Almaty, “Zhazushy”, 1989