The work of Chingiz Aitmatov is convincing evidence of this. Appeared in 1958 in the magazine New world“The story “Djamilya,” small in volume, but significant in content, bright in imaginative thinking and mastery of execution, was a signal that a man of amazingly original talent had come to literature from the Kyrgyz steppes. Chekhov wrote: “What is talented is new.” These words can be fully attributed to Ch. Aitmatov’s stories “Djamilya”, “ White steamer", "Farewell, Gyulsary!

", "Topolek in a red scarf" and others. Only an exceptionally gifted nature can combine a truly folkloric beginning and innovative perception modern life. Already the story “Jami-la”, sung by the writer freely, in one wide breath, has become an innovative phenomenon. Jamila is the image of a woman, no one before Ch.

Aitmatov is so unrevealed in the prose of Eastern literature. She is a living person, born from the very land of Kyrgyzstan. Before the appearance of Dani-yar, Jamila lived like a stream bound in ice. Neither mother-in-law nor husband Jamila Sadiq due to centuries-old traditions“large and small courtyards” it doesn’t even occur to us that in the spring the sun can awaken this invisible stream. And he can bubble, seethe, boil and rush in search of a way out and, not finding it, will stop at nothing, rushing forward to a free life. In the story “Jamila” in a new, subtle and with great inner tact, Ch.

Aitmatov solves the problem of the collision of the new with the old, the patriarchal and socialist way of life and everyday life. This problem is complex, and when they tried to solve it straightforwardly, the characters turned out to be sketchy, and there was no psychological persuasiveness. Ch. Aitmatov happily avoided this drawback. Seit, on whose behalf the story is told, respects his mother, the support of the family. When all the men of the “big and small courtyards” go to the front, the mother demands from those remaining “patience with the people.”

She bases her understanding of things on great life experience and epic traditions. The author does not throw a single reproach at her address. And patriarchal foundations, inertia, philistinism, covered with the mold of prosperity, are subtextually highlighted by the author, and ultimately it becomes clear to the reader that all this puts pressure on the individual, deprives him of beauty, freedom and strength. Daniyara and Jamili not only exposed the moral and social roots of this philistinism, but also showed the ways to defeat it. Love in the story wins the battle against inertia. Both in this work and in subsequent ones, Aitmatov affirms the freedom of personality and love, because without them there is no life. The power of the influence of real art on the human soul is clearly revealed in the fate of young Seit.

An ordinary Ail teenager, who differs from his peers perhaps in his slightly greater powers of observation and spiritual subtlety, suddenly begins to see the light under the influence of Daniyar’s songs. The love of Daniyar and Jamili inspires Seit. After they left, he still remains in the village of Curkureu, but he is no longer the same teenager. Jamila and Daniyar became for him moral embodiment poetry and love, their light led him on the road, he resolutely declared all rights reserved 2001-2005 to his mother: “I’m going to go study... Tell your father.

I want to be an artist." Such is the transformative power of love and art.

This is stated and defended by Ch. Aitmatov in the story “Djamilya”. At the very beginning of the 60s, several of Aitmatov’s stories appeared one after another, including “The Poplar in the Red Scarf” and “The Camel’s Eye.”

Judging by the artistic execution, they date back to the time creative searches writer. In both stories there are acute conflict situations both in the sphere of production and in personal life heroes.

The hero of the story “Topolek in a Red Scarf” Ilyas perceives quite poetically the world. But at the beginning of the story, where this poetry looks like a natural manifestation of the spiritual capabilities of a person inspired by love, he seems less convincing than later, when he suffers and looks for his lost love. And yet Ilyas is a sharply defined male character among the people around him.

Baitemir, who first sheltered Asel and then married her, - man kind and sympathetic, but there is a certain selfishness in him. Maybe this is because he lived alone for too long and is now silently but stubbornly holding on to the happiness that so unexpectedly, like a gift from God, crossed the threshold of his bachelor’s home? Critics reproached the author of “The Poplar in the Red Scarf” for the lack of psychological justification for the actions of the heroes.

The unspoken love of the two young people and their hasty wedding seemed to be called into question. There is, of course, some truth in this, but we must also take into account the fact that the creative principle of Ch.

Aitmatov, as well as the love tradition of his people, is always alien to the verbosity of people who love each other. It is through actions and subtle details that Aitmatov shows the unity of loving hearts. A declaration of love is not love itself. After all, Daniyar and Jamila also realized that they loved each other, without long-winded explanations.

In “Topolka in a Red Kerchief,” Asel recognizes the tracks of Ilyas’s truck among the wheels of a dozen other vehicles. Here Aitmatov used folklore detail very appropriately and creatively. In this region, where the story takes place, a girl, especially two days before the wedding, cannot go out onto the road in broad daylight to wait for an unloved person. Ilyas and Asel were led on the road by love, and here words are unnecessary, since their actions are psychologically justified. And yet, in the story, one senses some kind of haste from the author, a desire to quickly unite the lovers; he rather needs to move on to something more important. And now Ilyas says: “We lived together, loved each other, and then trouble happened to me.” And then - industrial conflict and ultimately the destruction of the family.

Why? Because Ilyas “turned the horse of life in the wrong direction.” Yes, Ilyas is a hot-tempered and contradictory person, but the reader believes that he will not give up, will find the strength to overcome the confusion in his soul and find happiness.

In order to be convinced of this logical transformation of Ilyas, readers need only remember internal monologue this has already been beaten enough by fate young man when he sees white swans for the second time over Issyk-Kul: “Issyk-Kul, Issyk-Kul - my unsung song! ...why did I remember the day when Asel and I stopped at this place, right above the water? “Ch. Aitmatov does not change his manner: in order to prove the depth of Ilyas’s experiences and the breadth of his soul, he again leaves him alone with the lake.

With this story, the wonderful writer proved to himself and others that for any plot, any theme, he finds an original Aitmatov solution.

"Tales of Mountains and Steppes (based on Ch. Aitmatov's early stories "Djamilya", "Poplar in a Red Scarf")

Pages:(the essay is divided into pages)

Worldwide famous writer Chingiz Torekulovich Aitmatov does not need to be introduced to readers. If you need it, turn to his books.

There are writers whose every work becomes an event in cultural life country, the subject of heated debate and deep thought. The work of Chingiz Aitmatov is convincing evidence of this.

The appearance in 1958 in the magazine "New World" of the story "Djamilya", small in volume, but significant in content, bright in its imaginative thinking and mastery of execution, was a signal that a man of amazingly original talent had come to literature from the Kyrgyz steppes.

Chekhov wrote: “What is talented is new.” These words can be fully attributed to Ch. Aitmatov’s stories “Djamilya”, “White Steamer”, “Farewell, Gul-sary!”, “Poplar in a Red Headscarf” and others. Only an exceptionally gifted nature can combine a truly folkloric beginning and an innovative perception of modern life. Already the story “Jamila”, sung by the writer freely, in one breath, has become an innovative phenomenon.

Jamila is an image of a woman that has not been so explored in the prose of Eastern literature by anyone before Ch. Aitmatov. She is a living person, born from the very land of Kyrgyzstan. Before Daniyar appeared, Jamila lived like a stream bound in ice. Due to the centuries-old traditions of the “large and small courtyards,” it never occurs to either the mother-in-law or her husband Jamila Sadyk that in the spring the sun can awaken this invisible stream. And he can seethe, boil in search of a way out and, not finding it, will not stop at anything, rushing forward to a free life.

In the story “Djamilya”, in a new, subtle and with great inner tact, Ch. Aitmatov solves the problem of the collision of the new with the old, the patriarchal and socialist way of life and everyday life. This problem is complex, and when they tried to solve it straightforwardly, the characters turned out to be sketchy, and there was no psychological persuasiveness. Ch. Aitmatov happily avoided this drawback. Seit, on whose behalf the story is told, respects his mother, the support of the family. When all the men of the “big and small courtyards” go to the front, the mother demands from those remaining “patience with the people.” In her understanding of things, she relies on extensive life experience and epic traditions. The author does not throw a single reproach at her address. And patriarchal foundations, inertia, philistinism, covered with the mold of prosperity, are highlighted by the author, and ultimately it becomes clear to the reader that all this puts pressure on the individual, deprives him of beauty, freedom and strength. The love of Daniyar and Jamili not only exposed the moral and social roots of this philistinism, but also showed the ways to defeat it.

Love in the story wins the battle against inertia. Both in this work and in subsequent ones, Aitmatov affirms the freedom of personality and love, without which there is no life.

The power of the influence of real art on the human soul is clearly revealed in the fate of young Seit. An ordinary teenager, who differs from his peers, perhaps in being a little more observant and spiritually subtle, suddenly begins to see the light under the influence of Daniyar’s songs. The love of Dani-yar and Jamili inspires Seit. After they left, he still remains in the village of Curkureu, but he is no longer the same teenager. Jamila and Daniyar became for him the moral embodiment of poetry and love, their light led him on the road, he decisively declared to his mother: “I’m going to study... Tell my father. I want to be an artist.” Such is the transformative power of love and art. This idea is affirmed and defended by Ch. Aitmatov in the story “Jamilya”.

At the very beginning of the sixties, several of Aitmatov’s stories appeared one after another, including “The Poplar in the Red Scarf” and “The Camel’s Eye.” Judging by the artistic execution, they date back to the time of the writer’s creative search. In both stories there are acute conflict situations both in the sphere of production and in the personal lives of the characters.

The hero of the story "The Poplar in the Red Scarf" Ilyas perceives the world around him quite poetically. But at the beginning of the story, where this poetry looks like a natural manifestation of the spiritual capabilities of a person inspired by love, he seems less convincing than later, when he suffers and looks for his lost love. And yet Ilyas is a sharply defined male character among the people around him. Baitemir, who first sheltered Asel and then married her, is a kind and sympathetic person, but there is a share of selfishness in him. Maybe this is because he lived alone for too long, and now silently but stubbornly clings to the happiness that so unexpectedly, like a gift from God, crossed the threshold of his bachelor’s home?

Answer from Green flower[guru]
Jamila is an image of a woman that has not been so explored in the prose of Eastern literature by anyone before Ch. Aitmatov. She is a living person, born from the very land of Kyrgyzstan. Before the appearance of Dani-yar, Jamila lived like a stream bound in ice. Due to the centuries-old traditions of “large and small courtyards,” it never occurs to either the mother-in-law or her husband Jamila Sadyk that in the spring the sun can awaken this invisible stream. And he can bubble, seethe, boil and rush in search of a way out and, not finding it, will stop at nothing, rushing forward to a free life. In the story “Jamilya”, in a new, subtle and with great inner tact, Ch. Aitmatov solves the problem of the collision of the new with the old, the patriarchal and socialist way of life and everyday life. This problem is complex, and when they tried to solve it straightforwardly, the characters turned out to be sketchy, and there was no psychological persuasiveness. Ch. Aitmatov happily avoided this drawback. Seit, on whose behalf the story is told, respects his mother, the support of the family. When all the men of the “big and small courtyards” go to the front, the mother demands from those remaining “patience with the people.” In her understanding of things, she relies on extensive life experience and epic traditions. The author does not throw a single reproach at her address. And patriarchal foundations, inertia, philistinism, covered with the mold of prosperity, are subtextually highlighted by the author, and ultimately it becomes clear to the reader that all this puts pressure on the individual, deprives him of beauty, freedom and strength. The love of Daniyar and Jamili not only exposed the moral and social roots of this philistinism, but also showed the ways to defeat it. Love in the story wins the battle against inertia. Both in this work and in subsequent ones, Aitmatov affirms the freedom of personality and love, because without them there is no life. The power of the influence of real art on the human soul is clearly revealed in the fate of young Seit. An ordinary Ail teenager, who differs from his peers perhaps in his slightly greater powers of observation and spiritual subtlety, suddenly begins to see the light under the influence of Daniyar’s songs. The love of Daniyar and Jamili inspires Seit. After they left, he still remains in the village of Curkureu, but he is no longer the same teenager. Jamilya and Daniyar became for him the moral embodiment of poetry and love, their light led him on the road, he decisively declared to his mother: “I’m going to study... Tell your father. I want to be an artist." Such is the transformative power of love and art. This is asserted and defended by Ch. Aitmatov in the story “Dzhamilya”.

Chingiz Aitmatov (born in 1928) is one of the most remarkable figures of modern Soviet literature. This is a deeply national writer, but from his very first steps in literature he became known throughout the Union. As one of the prominent Soviet writers it is widely popular abroad. Last years he often gives lectures, interviews, and at various forums there.

However, before success came to Aitmatov, he worked a lot and hard: he was looking for his themes, his heroes, his own style of storytelling. From the very beginning, his works were distinguished by special drama, complex problems, and ambiguous solutions to problems. These are the early stories: “Djamilya” (1957), “My Poplar in a Red Scarf” (1961), “The First Teacher” (1963). Let's look at the last story in a little more detail. The author himself said: “... in “The First Teacher” I wanted to confirm our understanding positive hero in literature... I tried to look at this image with our modern eyes, I wanted to remind today’s youth of their immortal fathers.”

The image of a teacher doing his best to tear the children of his fellow villagers away from ignorance is painfully modern. Isn’t the life of fellow teachers today aimed at the same thing? And isn’t the critic V. Pankin deeply right that “respecting a teacher - for some reason this science is more difficult than others.”

Gradually, the scope of life becomes wider and deeper, the writer strives more and more to penetrate into its secrets, into the essence of the most pressing issues of our time. At the same time, Aitmatov’s prose becomes more philosophical; contradictions and collisions reach very great strength. The methods of storytelling are becoming more complex. Often reflections and internal monologues of the hero with the author’s speech are inextricably fused. The role of folklore elements is strengthened, lyrical songs are woven into the story (“Farewell, Gyulsary!”),

Traditions, myths, legends (“The White Steamship”, “Piebald Dog Running by the Edge of the Sea”). From this the images acquire a special symbolic meaning, the philosophical orientation of the works deepens.

Some critics distinguish three periods in creative development Ch. Aitmatova. “Jamila”, “Camel’s Eye”, “My Poplar in a Red Scarf”, “The First Teacher” are works of the first stage. The second is formed by the stories "Mother's Field" (1963) and

"Farewell, Gyulsary!" (1966). The third begins with "The White Steamer" (1970). These are also "Early Cranes", "Piebald Dog Running by the Edge of the Sea" and the novel "Stormy Stop". “Personality and Life, People and History, Conscience and Being - these are the problematic pairs of the three designated stages of Aitmatov’s ascent to ever deeper essences,” writes G. Grachev, a researcher of the writer’s work.

Not just individual people with their feelings and thoughts, but Man in general becomes the focus of the writer’s attention. He strives to comprehend the laws of existence, the meaning of life. So, there are no specific signs of time, individuality of characters in a philosophical story

"A piebald dog running by the edge of the sea." Its meaning is in the thoughts of the old man Organ: “... in the face of the infinity of space, a man in a boat is nothing. But a man thinks and thereby ascends to the greatness of the Sea and Sky, and thereby affirms himself before the eternal elements, and thus he is commensurate with the depth and height of the worlds.” With its entire content, this story is an approach to the novel “Stormy Stop” (another title is “And the Day Lasts Longer than a Century”). The main thing in the novel is a fundamentally new understanding of time and space, this is our whole world with the contradictions tearing it apart, a world on the brink of disaster. The work is deeply philosophical and artistic. One cannot help but like the people of labor, the eternal workers, whom the author portrayed with such love.

The critic divided the writer’s work into three periods in 1982. But it seems that perestroika was an opportunity for an even higher rise in the writer’s skill. With its beginning, “The Scaffold” is published. This book is about the relationship between Man and Nature, about the search for the meaning of life, and about the purpose of religion in its best manifestations for us, and about the misfortune of our time - drug addiction, and much more. In terms of the scope of themes, versatility, philosophical approach and depth of symbolism, this work surpassed everything previously written.

The world-famous writer Chingiz Torekulovich Aitmatov does not need to be introduced to readers - millions of his admirers live all over the world. If you still need it, turn to his books.

There are writers whose every work becomes an event in the cultural life of the country, the subject of heated debate and deep thought. The work of Chingiz Aitmatov is convincing evidence of this.

The appearance in 1958 in the magazine “New World” of the story “Djamila”, small in volume, but significant in content, bright in imaginative thinking and mastery of execution, was a signal that a man of amazingly original talent had come to literature from the Kyrgyz steppes.

Chekhov wrote: “What is talented is new.” These words can be fully attributed to Ch. Aitmatov’s stories “Djamilya”, “White Steamer”, “Farewell, Gyulsary!”, “Poplar in a Red Scarf” and others. Only an exceptionally gifted nature can combine a truly folkloric beginning and an innovative perception of modern life. Already the story “Jami-la”, sung by the writer freely, in one wide breath, has become an innovative phenomenon.

Jamila is an image of a woman that has not been so explored in the prose of Eastern literature by anyone before Ch. Aitmatov. She is a living person, born from the very land of Kyrgyzstan. Before the appearance of Dani-yar, Jamila lived like a stream bound in ice. Due to the centuries-old traditions of the “large and small courtyards,” it never occurs to either the mother-in-law or her husband Jamila Sadyk that in the spring the sun can awaken this invisible stream. And he can bubble, seethe, boil and rush in search of a way out and, not finding it, will stop at nothing, rushing forward to a free life.

In the story “Djamilya”, in a new, subtle and with great inner tact, Ch. Aitmatov solves the problem of the collision of the new with the old, the patriarchal and socialist way of life and everyday life. This problem is complex, and when they tried to solve it straightforwardly, the characters turned out to be sketchy, and there was no psychological persuasiveness. Ch. Aitmatov happily avoided this drawback. Seit, on whose behalf the story is told, respects his mother, the support of the family. When all the men of the “big and small courtyards” go to the front, the mother demands from those remaining “patience with the people.” In her understanding of things, she relies on extensive life experience and epic traditions. The author does not throw a single reproach at her address. And patriarchal foundations, inertia, philistinism, covered with the mold of prosperity, are subtextually highlighted by the author, and ultimately it becomes clear to the reader that all this puts pressure on the individual, deprives him of beauty, freedom and strength. The love of Daniyar and Jamili not only exposed the moral and social roots of this philistinism, but also showed the ways to defeat it.

Love in the story wins the battle against inertia. Both in this work and in subsequent ones, Aitmatov affirms the freedom of personality and love, because without them there is no life.

The power of the influence of real art on the human soul is clearly revealed in the fate of young Seit. An ordinary Ail teenager, who differs from his peers perhaps in his slightly greater powers of observation and spiritual subtlety, suddenly begins to see the light under the influence of Daniyar’s songs. The love of Daniyar and Jamili inspires Seit. After they left, he still remains in the village of Curkureu, but he is no longer the same teenager. Jamila and Daniyar became for him the moral embodiment of poetry and love, their light led him on the road, he decisively declared to his mother: “I’m going to study... Tell your father. I want to be an artist." Such is the transformative power of love and art. This is stated and defended by Ch. Aitmatov in the story “Djamilya”.

At the very beginning of the 60s, several of Aitmatov’s stories appeared one after another, including “The Poplar in the Red Scarf” and “The Camel’s Eye.” Judging by the artistic execution, they date back to the time of the writer’s creative search. In both stories there are acute conflict situations both in the sphere of production and in the personal lives of the characters.

The hero of the story “The Poplar in the Red Scarf,” Ilyas, perceives the world around him quite poetically. But at the beginning of the story, where this poetry looks like a natural manifestation of the spiritual capabilities of a person inspired by love, he seems less convincing than later, when he suffers and looks for his lost love. And yet Ilyas is a sharply defined male character among the people around him. Baitemir, who first sheltered Asel and then married her, is a kind and sympathetic person, but there is a certain selfishness in him. Maybe this is because he lived alone for too long and is now silently but stubbornly holding on to the happiness that so unexpectedly, like a gift from God, crossed the threshold of his bachelor’s home?

Critics reproached the author of “The Poplar in the Red Scarf” for the lack of psychological justification for the actions of the heroes. The unspoken love of the two young people and their hasty wedding seemed to be called into question. There is, of course, some truth in this, but we must also take into account the fact that the creative principle of Ch. Aitmatov, as well as the love tradition of his people, is always alien to the verbosity of people who love each other. It is through actions and subtle details that Aitmatov shows the unity of loving hearts. A declaration of love is not love itself.

After all, Daniyar and Jamila also realized that they loved each other, without long-winded explanations.

In “Topolka in a Red Kerchief,” Asel recognizes the tracks of Ilyas’s truck among the wheels of a dozen other vehicles. Here Aitmatov used folklore detail very appropriately and creatively. In this region, where the story takes place, a girl, especially two days before the wedding, should not go out onto the road in broad daylight to wait for an unloved person. Ilyas and Asel were led on the road by love, and here words are unnecessary, since their actions are psychologically justified. And yet, in the story, one senses some kind of haste from the author, a desire to quickly unite the lovers; he rather needs to move on to something more important. And now Ilyas says: “We lived together, loved each other, and then trouble happened to me.” And then - industrial conflict and ultimately the destruction of the family. Why? Because Ilyas “turned the horse of life in the wrong direction.” Yes, Ilyas is a hot-tempered and contradictory person, but the reader believes that he will not give up, will find the strength to overcome the confusion in his soul and find happiness. In order to be convinced of this logical transformation of Ilyas, readers need only remember the internal monologue of this young man, already beaten by fate, when he sees white swans for the second time over Issyk-Kul: “Issyk-Kul, Issyk-Kul - my unsung song! ...why did I remember the day when Asel and I stopped at this place, right above the water?”

Ch. Aitmatov does not change his manner: in order to prove the depth of Ilyas’s experiences and the breadth of his soul, he again leaves him alone with the lake.

With this story, the wonderful writer proved to himself and others that for any plot, any theme, he finds an original Aitmatov solution.

Chingiz Aitmatov

"Jamila"

It was the third year of the war. Adults healthy men was not in the village, and therefore the wife of my older brother Sadyk (he was also at the front), Jamilya, was sent by the brigadier to a purely men's work- transport grain to the station. And so that the elders would not worry about the bride, he sent me, a teenager, along with her. And he also said: I will send Daniyar with them.

Jamila was beautiful - slender, stately, with blue-black almond-shaped eyes, tireless, dexterous. She knew how to get along with her neighbors, but if she was offended, she would not yield to anyone in scolding. I loved Jamila dearly. And she loved me. It seems to me that my mother also secretly dreamed of someday making her the imperious mistress of our family, which lived in harmony and prosperity.

On the current I met Daniyar. They said that as a child he was left an orphan, for three years he wandered around the yards, and then went to the Kazakhs in the Chakmak steppe. Daniyar’s wounded leg (he had just returned from the front) did not bend, so they sent him to work with us. He was reserved, and in the village he was considered a strange person. But in his silent, gloomy thoughtfulness there was something lurking that we did not dare to treat him like a friend.

And Jamila, as it happened, either laughed at him or did not pay attention to him at all. Not everyone would tolerate her antics, but Daniyar looked at the laughing Jamila with gloomy admiration.

However, our tricks with Jamila ended one day sadly. Among the bags there was one huge one, seven pounds in size, and we handled it together. And somehow, while driving, we dumped this bag into our partner’s chaise. At the station, Daniyar looked at the monstrous load with concern, but, noticing how Jamila grinned, he put the bag on his back and went. Jamila caught up with him: “Drop the bag, I was joking!” - “Go away!” - he said firmly and walked along the ladder, leaning harder and harder on his wounded leg... There was dead silence all around. “Drop it!” - people shouted. “No, he won’t quit!” - someone whispered with conviction.

The entire next day Daniyar remained calm and silent. We returned from the station late. Suddenly he began to sing. I was amazed by what passion, what burning the melody was saturated with. And suddenly his oddities became clear to me: daydreaming, love of solitude, silence. Daniyar's songs stirred my soul. And how Jamila has changed!

Every time we returned to the village at night, I noticed how Jamila, shocked and touched by this singing, came closer and closer to the chaise and slowly extended her hand to Daniyar... and then lowered it. I saw how something was accumulating and ripening in her soul, demanding a way out. And she was afraid of it.

One day we were driving from the station, as usual. And when Daniyar’s voice began to gain pitch again, Jamila sat down next to him and lightly leaned her head against his shoulder. Quiet, timid... The song suddenly stopped. It was Jamila who impulsively hugged him, but immediately jumped off the chaise and, barely holding back tears, said sharply: “Don’t look at me, go!”

And there was an evening at the lek when, through a dream, I saw how Jamila came from the river, sat down next to Daniyar and fell to him. “Jamilam, Jamaltai!” - Daniyar whispered, calling her the most tender Kazakh and Kyrgyz names.

Soon the steppe began to blow, the sky became cloudy, and cold rains began to fall - harbingers of snow. And I saw Daniyar walking with a duffel bag, and Jamila was walking next to him, holding the strap of his bag with one hand.

How much talk and gossip there was in the village! The women vied with each other to condemn Jamila: to leave such a family! with the hungry man! Maybe I was the only one who didn’t condemn her.

The war dragged on for three years. All healthy adult men left the village for the front and women took over men's jobs. My brother Sadyk’s wife, Jamila, was no exception, who was sent to transport grain to the station. And so that the elders wouldn’t worry about my brother’s bride, they sent me, a teenager, and Daniyar with her.

Jamila was not bad looking: stately, slender, dexterous with almond-shaped eyes. I loved her dearly, and she reciprocated. Daniyar was already waiting for us at the current. He was wounded in the leg at the front, which is why it did not bend. He was very withdrawn into himself. Jamilia often mocked him and made fun of him. Not everyone could endure this, but Daniyar, looking at the girl’s laughter, gloomily admired it.

One day, while handling bags on the current, Jamila and I came across a huge one, about seven pounds. Deciding to play a joke, they dumped this bag onto their partner’s cart. Seeing such a bag, Daniyar hypnotized him for a long time, but, catching Jamila’s gaze and smile, without hesitation he put it on his back and wandered off. Realizing that Daniyar was acting on principle, Jamilya ran up to him with an insistent request to quit, but the guy refused and, limping, carried the bag. The next day Daniyar did not show any signs of pain, behaved proudly and was silent. In the evening, after finishing work, we were returning as a lady, and suddenly he began to sing. I haven't heard such singing for a long time. One thing touched the soul, but Jamila reacted to it even stronger!

One evening after work, we were returning to the village, and Daniyar began to sing again. When his voice rose in pitch, Jamila sat down next to him on the chaise, leaning against his shoulder. The singing stopped and there was a lull. Jumping to the ground with tears in her eyes, Jamila shouted: “Don’t look at me, go!”

It was getting dark and evening was approaching. I dozed off a little on the current and through my sleep I saw Jamila coming from the river. She sat down next to Daniyar, leaning towards him. “Jamilam, Jamaltai!” - Daniyar said, trying to call her as tenderly as possible. This was the first step in their new relationship, and soon as the warmth was replaced by rains - harbingers of snow, Daniyar walked with a duffel bag, and Jamila walked next to him, holding the bag's strap.