Biography of Toktogul

The text is quoted by M. Bogdanov, Toktogul Satylganov. The critical-biographical essay, Goslitizdat, M. In one of his speeches, speaking of talented folk poets, M. Kalinin put in a row with Jambul and Suleiman Steelsky an outstanding Kyrgyz Akyn Toktogul Satylganov in the conditions of backward pre-revolutionary Kyrgyzstan Toktogul was a bright spokesman for thoughts and the bow of the oppressed people, his ages.

aspirations for a happy life. He greeted the October Revolution and sang the immortal image of her leader. To the dawn of Soviet power in Kyrgyzstan, Toktogul ended his “Song about Lenin” with the words with the penetration, coming from the very heart: you breathed courage and strength into my people, so persecuted by fate. So much happiness is given to him, our beloved Lenin, you!

An outstanding musician at the folk instrument to Komuz, who owned many genres of Akyn songwriting, Toktogul put melodies to his songs, which are still sung in the republic. However, the poetic work of this wonderful improviser singer until recently was little studied. The new work of M. Bogdanova about Toktogul is the result of many years of scientific research of one of the major experts in Kyrgyz folklore.

The book, which was based on a large article by M. Bogdanova, Toktogul Satylganov 1, is the first serious scientific study that generally correctly characterizes the poetic heritage of Toktogul. What are the difficulties in studying Toktogul? Directly from Akyn himself, almost nothing was recorded, not all his songs are still collected and published. The recording of verses and songs was mainly carried out from his students - the famous Akynov A.

Usenbaev, K. Akyev and others. But, as M. Bogdanova rightly notes, “in the performance of Toktogul’s works, a lot should have changed, especially since the akyns usually do not memorize, but only re -chase what they heard, passing poetry and songs in their creative manner” of the page critically approaching and unexplored texts of the verses of Toktogul, the author of the book does not always argue and clearly expresses his attitude to clearly and clearly expresses his attitude For textological discrepancies see.

Due to the fact that it is now difficult, and in some cases it is impossible to establish the time of creating many works of Toktogul, M. Bogdanova quite reasonably proposes to divide his work into two main periods - pre -revolutionary and post -revolutionary, considering a very conditional periodization given in a number of collections of Toktogul's works - - and years.

Obviously, the periodicization proposed by M. Bogdanova herself in the article mentioned above should be considered just as conditional - - years. She does not directly talk about this in her book, but, having put forward a new periodization, it must be assumed, she refuses the previous one. The study of the work of Toktogul is complicated by the absence of more or less reliable biographical data about Akyn, especially about the pre -revolutionary period of his life.

In the book of M. Bogdanova, for the first time, the biography of Toktogul was most fully stated, new archival data, the memoirs of contemporaries and students of Akyn, previously not published materials, etc., are of interest, new information about the early years of Toktogul, about his youthful works, his meetings with the Uzbek folk bahsha singers, with prominent Kyrgyz Kyrgyz.

The democrat poet Tomk Moldo--one of the creators of the pre-revolutionary Kyrgyz manuscript literature. On the basis of unpublished archival funds of the Academy of Sciences of the Kyrgyz SSR, the book tells about the period of Toktogul’s exile to Siberia in the year on the false denunciation of Baev Toktogul was accused of participating in the so -called Andijan uprising, sentenced to death, which was then replaced by a link to Siberia, from where Akyn managed to escape to his homeland.

Some researchers of vulgarizatorsky considered the worldview of Toktogul. The illiterate Akyn was called the “Democrat revolutionary”, “a militant atheist” and “materialist philosopher”, compared with Chernyshevsky and Belinsky, declared him a representative of “critical realism” in Kyrgyz oral poetry, etc. M. Bogdanov did not escape such statements in its previous articles. In the book, this issue, which is important-and not only for literary criticism, is decided in a new way.

Based on the concrete historical conditions in which Toktogul lived, M. Bogdanova correctly believes that his worldview was due to the feudal-ore, patriarchal way of backward pre-revolutionary Kyrgyzstan. Toktogul opposed the enslavers of the working people - against the khans, tsarist autocracy, Manapov; He angrily convicted Baev and Mulla. But he did not understand and could not understand the reasons for social evil, could not find real ways and indicate the means of struggle.

Hence the inconsistency and historical limitation of his views. And this confirms M. Bogdanov with a specific analysis of Akyn's pre -revolutionary poems.So, for example, speaking about the works in which Toktogul is scouring Ishanov, Mully and Hodge, she rightly remarks: “Toktogul was and remained a Muslim, believed in God, although he did not differ in piety and did not observe all the rites.

In the conditions of that time, it could not be otherwise. After all, at that time, even among the most. Tukai, among the Kazakh people-Abay Kunanbaev and many others, no one was able to rise to the philosophical and critical denial of the foundations of religion. The illiterate Akyn Toktogul, who stood immeasurably lower than them in its cultural level, of course, could not be an atheist in any way.

And, ridicurating and whipping Mullah, Khoja and Goshanov, he essentially protested only against the violation of the laws of Sharia ... ”The greatness of Toktogul in that, continues M. Bogdanova, that, despite the limited worldview, with his songs he aroused the public consciousness of the people who lived in the conditions of primitive nomadic economy, far from economic and cultural centers, in the conditions of persistently preserved tribal representations of the page.

However, characterizing the work of the Toktogul of the Siberian exile, M. Bogdanov sometimes admits fuzzy, contradictory formulations. On the one hand, the author of the book categorically claims that “during hard labor and links, the maturation of the class consciousness of Toktogul occurs,” and on the other hand, states that in his works of these years “we are talking more about specific enemies that have oppressed not so much the entire Kyrgyz people as the genus to which the poet belonged.

He talks more about those who exiled him than about manaps in general. At the same time, she dwells in detail on the features of the development of the poetic skill of Akyn. There are many fresh thoughts, subtle observations, correct conclusions. Bogdanova correctly determines the nature of the “lures” - reactionary works performed by pessimism, singing the “end of the world” and the approach of the “Day of Day”.

In the "replacement", the researcher writes, expressed "historically determined doom of the feudal-ore nobility of Kyrgyzstan." This is true. But it is hardly possible to agree with everything that the author says on pp. According to M. Bogdanova, here Akyn uses the traditional form of “louds”, in particular “Tar-Zaman” “difficult time” of Akyn Arkannbek, but puts a new content into it.

In the song of Toktogul, writes M. Bogdanov, “there are no complaints of impoverishment of faith and deviation from Sharia, there are no mystical motives in it-the foreboding of the“ end of the world ”and“ reckoning for sins ”, which filled the“ Tar-Zaman ”of Arkannbek. The poet does not appeal to the fairness of manaps and biyas. ” The traditional here is that Toktogul, as in the “lubricants”, acts “on behalf of the ancestors”.

But a little below we learn that Toktogul adopted not only the traditional technique of “louds”, but also caught “the most effective, impermissible trends and techniques of lumbering lures” italics. This is, therefore, about the works of Arkannbek -, Kalygula -, the reactionary essence of which was shown by M. most on the page of Bogdanov, by the way, writes that “are the statements of some?

However, on page, Bogdanova rightly wrote about the “lumberries” as a “direction” in the Kyrgyz manuscript literature, expressing “the ideology of the Kyrgyz feudal-rod, nobility”. Such inconsistency in fundamental judgments reduces the objective value of the statements and conclusions of the author.

In the “introduction” of M. Bogdanov, speaking of undeveloped problems, attributed to their number and the question of the importance of the poetic heritage of Toktogul in the development of the Kyrgyz Soviet literature. But, unfortunately, this problem in the book is almost not affected, with the exception of individual declarations like: Toktogul's work “has become a link related to poetry born of a revolution with the best cultural and poetic traditions of the past.” In the essay of M.

Bogdanova, there are other, less significant drawbacks: repetitions on pages, but this does not determine the quality of the new work of M. The reader of the book will get acquainted with the original work of the outstanding Kyrgyz Akyn, learns the “spirit” of the people, its culture. Literary portraits ”, ed. III,