Fattakhova Alisa Almasovna

The object of the study is the story “Asya” by Turgenev and “Hayat” by F. Amirkhan

Target: Compare the images of the main heroines of “Asi” by Turgenev and “Hayat” by F. Amirkhan in the context of Russian and Tatar culture.

Tasks: 1. Compare the images of Turgenev’s girl “Asi” with the heroine of F. Amirkhan’s story “Hayat”; 2. Analyze the role of landscape in revealing the images of heroines.

Relevance of this work.

Turgenev belonged to the galaxy of Russian writers of the second half of the 19th century. In his work, the realistic traditions of Pushkin, Lermontov, and Gogol continue to develop, enriched with new content. Turgenev had an amazing talent - to combine the so-called topic of the day with generalizations of the broadest, truly universal order and give them an artistically perfect form and aesthetic persuasiveness. But the philosophical basis of Turgenev’s work to this day, unfortunately, has not received due attention from researchers.

Thus, 1) Hayat, despite her closeness to Turgenev’s girls, still differs from them in many ways, that Hayat is a representative of Islamic culture and the corresponding way of life. 2) Analysis of spatio-temporal relations in the stories “Asya” and “Hayat” allows us to conclude that in Turgenev’s spatio-temporal characteristics help to reveal the inner world of the heroine, in Amirkhan they help to understand the heroine’s place in two intersecting national-cultural worlds .

In our opinion, if we consider the history of Tatar literature in terms of gender relations, then the story of Fatih Amirkhan would be one of the central ones there. It is in this image that we see a fundamental change in Tatar society. A society that has entered a new stage and from which it is no longer possible to turn away.

This is the main result of the story - to show the beginning new era, era of the twentieth century.

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“Comparative analysis of the images of the main characters in the works of Turgenev “Asya” and F. Amirkhan “Hayat” in the context of Russian and Tatar culture”

Fattakhova Alisa

MBOU gymnasium No. 20, 8th grade,

Sovetsky district, Kazan city

Scientific supervisor: Gizatullina A.R.

Kazan 2014

1. Introduction. Goals and objectives of the work
2. Main part

a) Comparison of the image of Turgenev’s girl with the heroine of the story

F. Amirkhana

b) Analysis of the landscape, its role and function in the disclosure

images of heroines

c) Space and time in works

III. Conclusion

IV. List of used literature

V. Applications

Introduction

The object of the study is the story “Asya” by Turgenev and “Hayat” by F. Amirkhan

Target:

Compare the images of the main heroines of “Asi” by Turgenev and “Hayat” by F. Amirkhan in the context of Russian Tatar culture

Tasks:

1. Compare the image of Turgenev’s girl “Asi” with the heroine of F. Amirkhan’s story “Hayat”;
2. Analyze the role of landscape in revealing the images of heroines.

Relevance of this work.

Turgenev belonged to the galaxy of Russian writers of the second half of the 19th century. In his work, the realistic traditions of Pushkin, Lermontov, and Gogol continue to develop, enriched with new content. Turgenev had an amazing talent - to combine the so-called topic of the day with generalizations of the broadest, truly universal order and give them an artistically perfect form and aesthetic persuasiveness. But the philosophical basis of Turgenev’s work to this day, unfortunately, has not received due attention from researchers.

The theme of first love, sounding in the stories of I. Turgenev and F. Amirkhan, attracts Special attention, setting up a sincere conversation about the most subtle human feelings and experiences.

Turgenev was convinced that love is associated with the highest upsurge of feelings. The depiction of love was an important creative device for him: it was immediately revealed whether the hero had “nature”, that is, the wealth of spiritual life, strength of character, or whether he did not have it and instead had “only a head.”

Let's compare first female images in Turgenev’s stories “Asya”, “First Love”, “External Waters”, we will determine the typological similarity of the heroines, as a result of which a generalized image of the so-called “Turgenev girl” is formed.

The heroines of Turgenev’s stories “about love” differ in their character, age, social origin, and nationality. But there is something in the appearance of the girls that makes them related and allows us to talk about a special type of Turgenev heroine.

Turgenev's heroine is a young girl, a young, beautiful creature, pure and refined. The face is lovely, “everything about it is so subtle, smart and sweet,” like Zinaida’s from the story “First Love,” she has special eyes - large, looking “straight, bright and bold,” like Asya’s from the story of the same name, or “magnificent, triumphant eyes” of Gemma from “Outer Waters,” “dark gray, with a black border around the pupils.” One of the key words in describing Turgenev’s heroine is the word “tender”: Zinaida has “tender, calm breasts”, Gemma has delicate facial skin - “like ivory or milky amber”, Asya’s gaze is “deep and tender”. The portraits of the heroines are light and poetic. Spiritual grace and intelligence shine through in their every feature and movement.

Turgenev was not the only one who depicted the fate of a contemporary girl. But in the history of Tatar literature, F. Amirkhan introduces the image for the first time Tatar girl living at a turning point in history: at the turn of two centuries and two cultures.

The romantic story "Khayat" ("Hayat", 1911) shows the spiritual drama of a Tatar girl, introduced to Russian culture from childhood. The author's main attention is aimed at revealing the inner world of the heroine, who is forced to live according to the canons of patriarchal morality. Traditional for Tatar literature of the late 19th - early 20th centuries. the conflict between fathers and children is embodied by the author in the spirit of romanticism. The story is dominated by the aesthetics of beauty, deep lyricism, the cult of nature and love; various forms are successfully used psychological analysis: portraits, internal monologues, descriptions of feelings, landscape.

The fate of the Tatar girl in the story “Hayat” is dramatic: her simple, natural human feelings are opposed to the old religious-feudal morality, the reactionary canons of Islam, which drowned out the natural aspirations of a Tatar woman and deprived her of the right to love.

Comparison of the image of Turgenev’s girl with the heroine of F. Amirkhan’s story.

Since the beginning of the 19th century, in literature and other forms of art there has been an increasing interest in depicting the inner world of man, the life of his soul. One of the recognized artist-psychologists is I. S. Turgenev. P.V. Annenkov said that Turgenev is a psychologist, but a secret one; Turgenev’s study of psychology “is always hidden in the depths of the work and develops along with it, like a red thread threaded into a fabric.” Ivan Sergeevich himself characterized his “psychological method” as follows: “The psychologist must disappear in the artist, just as a skeleton disappears from view under a living and warm body, for which he served as a strong but invisible support”; “The poet must be a psychologist, but a secret one: he must know and feel the roots of phenomena, but represents only the phenomena themselves.” For Turgenev, the main and almost the only goal is the image of inner life person. The writer helps readers penetrate the recesses of the souls of his characters in different ways.

Showing, for example, Asya, he selects such details of the portrait, the behavior of the heroine, the environment in which she is placed, which seem to precipitate certain movements of the girl’s soul. Psychological analysis appears here as an external expression of feelings, experiences, a gradual change in the state of the inner world of the girl who falls in love - in facial expressions, gestures, in ever new nuances of the heroine’s portrait sketches, attention to the intonations of her voice.

Like Turgenev, the Tatar writer draws attention to the portrait of the heroine, describing in detail the heroine’s eyes, shining from under long eyelashes, compares them to “magic yachts”. In the portrait of a Tatar girl, the writer, like Turgenev, uses the epithet “tender”: Hayat has a “tender white face.” Even the color of the silk dress is the same as that of the heroines of the Russian writer: they like to dress in pink and white.

According to literary critic Yu. Nigmatullina, “in Hayat’s portrait, the traditions of Russian literature in creating a realistic psychologized portrait are combined with the traditions of national folklore.” The description of Hayat’s beauty is given in the spirit of oriental fairy tales: “she is compared to a winged angel (fereshte)”; “Hayat looks like the daughter of a fairy-tale padishah, as in oriental fairy tales: she has black eyes, long black eyelashes, black braids below the waist,” etc.

The similarity of the heroines under consideration is that they are all spontaneous, simple, the secret of their charm lies in the fact that they are pure, sincere, incapable of hypocrisy or falsehood. Their naturalness is attractive, there is no artificiality in them, therefore female images in the works of Turgenev and Amirkhan are associated with images of nature. Turgenev are correlated with the image of spring, spring nature, and their love is associated with a spring thunderstorm.

Analysis of the landscape, its role and function in revealing the images of heroines.

In addition to conveying the feelings and experiences of the characters, Turgenev’s landscapes also have a philosophical resonance. Pictures of nature help the writer pose a number of the most important philosophical problems: the meaning of human life, life and death, love, etc.

The psychological landscape was first introduced into Tatar realistic prose by F. Amirkhan. Before him, landscape paintings were only the background against which events unfolded. He continues the traditions of Turgenev: the heroine’s experiences and feelings are revealed through pictures of nature. Amirkhan’s description of the girl is accompanied by an image of spring, awakening nature: “ Light rain that an hour ago passed over the city, swept up the dust, refreshed the hot air, making the day even more beautiful. The warm spring wind from the west blew so quietly and calmly that it seemed to breathe life into everything living and inanimate and carried with it the smells of a renewed, rejuvenated nature.”

The spring blossoming of nature is associated with the heroine’s youth, her inner world, yearning for love. The image of youth - spring is contrasted in the story with the image of a winter landscape, the howling of a blizzard, bad weather, which in the work becomes a symbol of the old world:

“The wind outside the window either whistled piercingly or roared deafeningly. Then he began to howl like a wolf, screaming like an evil spirit; and then again he whistled, and howled, and roared...” In describing pictures of nature, Amirkhan also uses the traditions of national Tatar folklore (traditional images of a nightingale, a moth, flowers).

All the works under consideration are united by one theme - the theme of love. The story of first love, all-consuming and pure, underlies the plot of all works, which are permeated with a mood of light sadness. “And happiness was so possible!” - these words, following Pushkin’s Tatyana, could be repeated by Turgenev’s heroines and the heroine of Amirkhan’s story “Hayat”. Why didn’t Asya and Hayat’s happiness happen?

“My wings have grown, but I have nowhere to fly,” says Asya. Wings grew because she fell in love, fell in love with N.N. with all the fervor of first love,” “Asya fights for her love: she makes a date herself, confesses her feelings. But N.N turns out to be not ready to respond to her feelings. Love comes to the hero too late, when nothing can be changed”; The heroine Amirkhana, like Asya, is ready to take off with happiness. However, it is not easy to break centuries-old bans. Hayat pushes away his happiness with his own hands, medieval prejudices turn out to be stronger than love,” etc.

Hayat, despite her closeness to Turgenev’s girls, is still different from them in many ways, that Hayat is a representative of Islamic culture and the corresponding way of life. The living space of “Hayat” consists of two different spatial worlds - anthropological and religious (Islamic) morality, Hayat everything living space represents divided into dwelling in heaven and hell. This idea turned out to be dominant in her relationship with her loved one: “The image of the affectionate Mikhail, who so recently warmed her heart, disappeared and the appearance of the infidel Mikhail appeared before her. The new image was scary and cold; near him she saw hell and the servants of hell with their instruments of reprisal against the infidels...” Hayat broke up with her lover.

Space and time in works.

Hayat is certainly a respectable Muslim. But unlike most of her peers, she lives in a world of two cultures: Tatar and Russian. The space of Tatar culture is closed; the role of the organizing principle in it is played by customs and rules. Hayat’s world is closed, limited by the confines of her room, at home: “This gloomy silence of the rooms, the monotonous life of their inhabitants who went to bed from ten o’clock in the evening, the ugly Bibi, her dirty, torn pillow - all this surrounded Hayat, existed next to life, everything was extremely dull, dreary, meaningless.” Time, just like space, is enclosed in the story about Hayat. The monotony of time is expressed using the lexical forms “re-read more than once...”, “monotonously”, “meaningless...”. The peculiar organization of space and time creates a feeling of isolation of the Muslim-Tatar world in Amirkhan’s story. The space of Russian culture in the story is open. Hayat’s friendship with a Russian girl, communication with Russian youth, study of the Russian language and literature, interest in Russian culture breaks the closedness of Hayat’s spatial world. But still she could not completely overcome it. The heroine Amirkhana is in the field of Tatar-Russian cultural dialogue, which determines her inner world, its inconsistency, the opposition of soul and heart: the heart does not recognize national differences, but Hayat’s soul is captive of the ideas and feelings instilled in her by her upbringing in the family. Throughout the story, the heroine’s soul and heart struggle. In the end, Hayat remains in the space of her Tatar-Muslim culture. The life of a Tatar girl turns out to be limited by native culture, her soul could not overcome the routine, so the wonderful feeling of love, having arisen in the soul of a young girl, dies. Hayat cannot realize the inner potential of her personality; she agrees to marry without love to a man she has never seen. The image of the psychological world of Amirkhan’s heroine, Hayat, is built through the following spatio-temporal model (see appendices).

Asya's spatial world is also complex, determined by her past and present, peasant origin on the one hand, and noble upbringing on the other. Asya's mother, a peasant woman, raised her daughter in strictness; after her mother's death, she was taken to the manor's house. The father, not daring to openly acknowledge his daughter, said that he took her “to feed her.” Asya, who received a noble upbringing, nevertheless did not acquire noble status. She was not a legitimate daughter; her fate depended entirely on her father’s mood. The social role of a peasant woman was taken away from her, but the role of a noblewoman was not assigned. On the one hand, she felt a spiritual kinship with the peasants, and later, abroad, “with people of the lower circle,” but they did not recognize her as one of their own. On the other hand, among the nobles they also did not consider her one of their own (for example, in the boarding school), pointing out to her her origins. Asya wanted to “make the whole world forget her origins; she was ashamed of her mother, and ashamed of her shame, and proud of her.” This explains the inconsistency, complexity, self-doubt and strange behavior of the heroine (see appendices).

The heroine of the story is an open, proud, passionate girl, striking with her unusual appearance, spontaneity and nobility..

She seems strange and unnatural precisely because she does not like the ordinary life of people in her circle. She dreams of an active, sublime and noble life. Her attention is attracted by simple people, she, apparently, both sympathizes and at the same time envies them. So, watching the crowd of pilgrims, she notices: “I wish I could go with them" She understands life ordinary people like a feat: “Go somewhere for prayer, for a difficult feat" She doesn't want her life to pass without a trace. But she feels how difficult it is to achieve this.

Asa combined the desire to be happy with the desire to fulfill the high duty of a person. She dreams of a feat and of uniting her destiny with a person who would help her accomplish it.

Most meetings take place in open space, surrounded by nature. Mountains, valleys, and the powerful flow of rivers symbolize the free, unrestrained development of Asya’s feelings.

The last meeting between N.N. and Asya takes place in a small, rather dark room, in the house of the burgomaster’s widow, Frau Louise. The closedness of the space in which the last date takes place already outlines the sad ending of their relationship.

conclusions

Thus, the analysis of spatio-temporal relations in the stories “Asya” and “Hayat” allows us to conclude that in Turgenev’s spatio-temporal characteristics help to reveal the inner world of the heroine, in Amirkhan they help to understand the heroine’s place in two conjugating national-cultural worlds.

Hayat's image is closer to Russian women. This is where F. Amirkhan’s “Westernism” manifests itself. The era that came after the first Russian revolution gave birth to this type of women. They are not so much liberated, not so much educated, they are already emancipated.

In our opinion, if we consider the history of Tatar literature in terms of gender relations, then the story of Fatih Amirkhan would be one of the central ones there. It is in this image that we see a fundamental change in Tatar society. A society that has entered a new stage and from which it is no longer possible to turn away.

This is the main result of the story - to show the beginning of a new era, the era of the twentieth century.

When projecting the ideas of the poem onto the plot of Turgenev's story, it is confirmed that a union with Asya would be tantamount to a union with nature itself, which tenderly loves and kills. This is the fate of anyone who wants to connect with nature. But “Everything that threatens death, for the mortal heart, conceals inexplicable pleasures, immortality, perhaps a guarantee.” But Turgenev’s hero, the hero of modern times, refuses such a fatal union, and then the omnipotent laws of life and fate block his way back. The hero remains unscathed... to slowly decline.

Let us remember that in Asa two sides of existence are united: the omnipotent and the mysterious, the elemental power of love, the “gentle smile of withering” of Russian nature. This is the face of spiritualized nature, which has acquired an immortal soul and therefore eternally suffers.

List of used literature

1. Amirkhan F. Favorites. Translation by G. Khantemirova. – M.: Fiction, 1975. – 320 p.
2. Klimovich L. Creativity of F. Amirkhan // Amirkhan F. Favorites. Translation by G. Khantemirova. – M.: Fiction, 1975. – P. 5-18.
3. “This, albeit ephemeral, is the achieved unity of the earthly (physical) and heavenly (spiritual), finite and eternal, man and the Universe” - Nedzvetsky V.A. Love ‒ cross ‒ duty (“Asya” and other stories of the 50s) //Nedzvetsky V.A., Pustovoit P.G., Poltavets E.Yu.I.S. Turgenev. “Notes of a Hunter”, “Asya”, and other stories of the 50s, “Fathers and Sons”. M., Moscow State University, 1998. P. 25
4. Kheteshi I. About the construction of the story by I.S. Turgenev “Asya” // From Pushkin to Bely. Problems of Russian poetics realism XIX- beginning of the twentieth century. St. Petersburg, 1992. pp. 141-142.
5. Notes of a rifle hunter of the Orenburg province. S. A-va. Moscow. 1852 (letter to one of the publishers of Sovremennik // I.S. Turgenev full meeting works and letters in 28 volumes. T.5. M., 1963. P. 414.

Applications

Рп - Russian space; TP - Tatar space.

F.Z.Amirkhan

I.S. Turgenev

The work of F. Amirkhan “Hayat” and its place in the history of literature of the peoples of Russia

The work of F. Amirkhan “Hayat” and its place in the history of literature of the peoples of Russia

Performed:

5th year student

OZO philological department RYANSH

Introduction

Fatih Amirkhan. In the diverse literary stream of the 20s of the last century, his work occupies a special place. The 20s were the era of the emergence of a huge number of new genres, schools, trends, the era of literary experiments. For example, in Russian literature it is enough to recall the names of I. Babel, B. Pilnyak, E. Zamyatin. The emergence of the genre of dystopia, proletkult and other literary movements.

In Tatar literature, similar works that break with generally accepted literary criteria and open new genres belong to such writers as G. Iskhaky, G. Rahim, and, of course, F. Amirkhan.

It is no coincidence that Bakiy Urmanche, the most famous Tatar artist, called F. Amirkhan the “ideal model” of the Tatar intellectual who united the East and Europe.

Indeed, his work is at the cross-section of eastern and European cultures. F. Amirkhan managed to perfectly combine in his work the traditions of Tatar literature and Russian, as well as European literature.

Having started his creative career with the story “The Dream of the Evening of Garaf” in 1907, he saw only 20 books during his lifetime, and died before he was forty years old.

From the very first works, the writer has a narrow framework of critical realism; he begins a creative search, and soon shades of symbolism, sometimes even mysticism, appear in his works.

In this essay, we examined the work of Fatih Amirkhan precisely from the perspective of his place in the literature of the peoples of Russia. In this regard, many of F. Amirkhan’s works are close to the works of such Russian authors as L. Andreev and some works of Sollogub and others.

1. The main features of the work of Fatih Amirkhan

Fatih Zarifovich Amirkhanov was born in 1886 in Kazan into the family of a mullah, who gave his son a spiritual education. But already at the famous Muhammadiyah madrasah, where Fatih studied since 1895, he became interested in fiction and began diligently attending the Russian class that was open there, where he studied Russian language and literature.

During these same years, Fatih Amirkhan became an active participant and then one of the leaders of the reformist movement of shakirds - madrasah students who demanded a wider introduction of general education subjects instead of scholasticism, a decisive change and even the complete abolition of the medieval orders adopted in these clerical educational institutions.

In 1907, the newspaper El-Islah began publishing in Kazan, reflecting the interests of democratic youth. F. Amirkhan became its editor. The first works of art by Fatih Amirkhan were published in El-Islah.

From the very beginning, Amirkhan’s artistic prose is characterized by the relevance and citizenship of the main motives, the depth of psychological analysis, mastery of composition, and laconicism.

Knowing that the fate of most women of his time was tragic, the writer did not give up the fight for their emancipation and enlightenment. In 1910, he wrote the story “Blissful Day”, in which he spoke about the backwardness and downtroddenness of the Tatar women - old Mukhip and young Gainijamal.

In the various literary movements of the 20s, which were marked by the emergence of a variety of schools in literature, new in the genre and style of artistic works, the work of Fatih Amirkhan occupies one of the unique places.

In 1911, the writer created the lyrical story “Hayat” - about the worries of a Tatar girl from merchant family, broken by patriarchal traditions, unable to find the strength to fight for the bright feeling that arose in her, for human rights. She is about to marry a stranger. She fell in love with a student whom she had known since childhood and who, in turn, overcome by sincere feeling, wrote to her: “Perhaps you think that I am not suitable for you because I am Russian, but, my friend, I realized that love is like this a force that does not recognize national differences. My happiness is in your hands, I am waiting for your decision.”

In addition to works of art, Fatih Amirkhan's range of interests was wide. Thus, in literary articles he wrote about Gogol, Turgenev, L. Tolstoy, Korolenko, and G. Senkevich. Separate articles are devoted to the work of Gabdulla Tukay.

As noted by D.F. Zagidullina, “excerpts from diaries, the work “Shafigulla Agai” remain evidence that, despite the fundamental changes in the country, F. Amirkhan remained true to his ideals - serving the Tatar people” ( Our translation – LH).

Gaziz Gubaidullin, one of the recognized literary critics of that time, wrote that “he sees in Fatih Amirkhan not only a writer, not only a person, he sees the ideal of a Tatar intellectual, but not a dry, distant ideal, but endowed with passions and flesh.”

2. The story “Hayat” as a typical work in the works of F. Amirkhan

The story “Hayat” appeared in 1911 and immediately attracted the attention of critics. It was not unambiguous, but no one was left indifferent to the spiritual and spiritual quest of a Tatar girl named Hayat.

The tragic story “Hayat” is a real reflection of the order of that time. Therefore, we can call Hayat a typical character. Although many researchers of F. Amirkhan’s work consider the story a romantic work. For example, D.F. Zagidullina writes: “T¿p plot syzygyn Kh´yat kº¼elend´ bargan ºzg´reshl´r t´shkil itº authorny¼ romanticism sukmagynda k¿ch sonyn d´lilly.”

The main idea of ​​the work is not so much the fate of the Tatar girl, but the sharp discrepancy between the Russian and Tatar worlds. Such heroes as Burgan abzyy and Rakhima abystay strengthen the understanding of this idea of ​​the story. The disclosure of the same idea is facilitated by secondary storylines such heroines as Amina and Rakiya.

However, at the center of the story is, of course, Hayat. Her rich inner world, her youth, her romantic aspirations are revealed with extraordinary strength and skill. And for this sixteen-year-old girl, a new understanding of the feeling of love already reveals her - a whole person who fell in love with a Russian young man Mikhail.

We observe Hayat not in a static state, but in a dynamic one. Her feelings grow and change, but these changes only prove the strength of nature main character.

We can say that the whole story is dedicated to the celebration of beauty, youth, hope, love. All these feelings ennoble the personality. And Hayat, as a strong and integral nature, behaves nobly towards any person, regardless of views, worldview, nationality and other characteristics of personality.

The fate of the Tatar girl was a common theme of many Tatar authors. You can name G. Ibragimov, Gali Rakhim, G. Iskhaki, even G. Tukay. But Hayat is a completely different character, she is not a girl filled with prejudices who rebels against the karma intended for her. Hayat is an intelligent, relaxed girl, she is educated and beautiful. Her character and worldview clearly go beyond the national understanding of a woman’s place in society.

It is enough to compare the image of Hayat with the images of women G. Ishaki. In the latter, they are forced to come to terms with the existing situation. The writer, as it were, outlines the place of women in society, and such natures as Hayat simply could not appear in the works of G. Ishaki.

Hayat's image is closer to Russian women. For example, to Tolstoy’s Anna Karenina, Turgenev’s images. This is where F. Amirkhan’s “Westernism” manifests itself. The era that came after the First Russian Revolution gave birth to this type of women. They are not so much liberated, not so much educated, they are already emancipated.

In our opinion, if we consider the history of Tatar literature in terms of gender relations, then the story of Fatih Amirkhan would be one of the central ones there. It is in this image that we see a fundamental change in Tatar society. A society that has entered a new stage and from which it is no longer possible to turn away.

This is the main result of the story - to show the beginning of a new era, the era of the twentieth century.

References

Amirkhan F. Favorites. Translation by G. Khantemirova. – M.: Fiction, 1975. – 320 p.

¥mirkhan F. ¥s´rl´r. – Kazan: M´garif, 2002. – 319 b.

Za³idullina D.F. Keresh sºz // ¥mirkhan F. ¥s´rl´r. – Kazan: M´garif, 2002. – B. 5-12.

Klimovich L. Creativity of F. Amirkhan // Amirkhan F. Favorites. Translation by G. Khantemirova. – M.: Fiction, 1975. – P. 5-18.

Introduction 3

Chapter first. Peculiarities creative path and prose of F. Amirkhan and theoretical problems of translation

1.1. Features of the creative path and prose of F. Amirkhan

1.2. Some theoretical issues of literary translation

Chapter two. Features of the translation of “Hayat” by Fatih Amirkhan

2.1. Lexical inconsistencies

2.2. Stylistic inconsistencies

2.3. Translation of gaps and exoticisms

2.4. Features of translations of phraseological units

Conclusion

References

Introduction

The main goal of this work is to analyze the translation of the story “Hayat” by Fatih Amirkhan.” To achieve the main goal, we set the following tasks:

– explored the features of Fatih Amirkhan’s creativity, the main views of the writer and public figure;

– analyzed the features and problems of translation art. For this we used the works of P. Topper, a collection of various translators;

– to study translation from the Tatar language into Russian, we used the manuals and works of G. Akhatov and R. Yusupov;

– analyzed the story “Hayat” translated by G. Timerkhanova.

The relevance of this work is undeniable. In recent years, the number of translated artistic and journalistic works has been growing. This is due to many reasons, the most important of which is global integration and interpenetration of different cultures, and increased interest in the culture and literature of “small” peoples.

However, the theoretical principles of translation art have not yet been developed at the highest level. This problem also remains due to the fact that languages ​​continue to develop, and creative art, as well as its theory, remains a constantly renewed phenomenon.

As one English poet said: “We must translate not the words, but the spirit of the work.” Therefore, the problem of translation is becoming increasingly urgent.

The work consists of an introduction, two chapters, a conclusion and a list of references.

The first chapter is devoted to a brief description of the creative path, features of Fatih Amirkhan’s prose, as well as theoretical issues of literary translation. The second chapter contains a complete analysis of G. Timerkhanova’s translation of the story “Hayat”.

The conclusion contains the main conclusions on the work and prospects for working on the topic.

Chapter first. Features of F. Amirkhan’s creative path and prose and theoretical problems of translation

1.1. Features of the creative path and prose of F. Amirkhan

Fatih Zarifovich Amirkhanov was born in 1886 in Kazan into the family of a mullah, who gave his son a spiritual education. But already at the famous Muhammadiyah madrasah, where Fatih studied since 1895, he became interested in fiction and began diligently attending the Russian class that was open there, where he studied Russian language and literature.

During these same years, Fatih Amirkhan became an active participant and then one of the leaders of the reformist movement of shakirds - madrasah students who demanded a wider introduction of general education subjects instead of scholasticism, a decisive change and even the complete abolition of the medieval orders adopted in these clerical educational institutions.

In 1907, the newspaper El-Islah began publishing in Kazan, reflecting the interests of democratic youth. F. Amirkhan became its editor. The first works of art by Fatih Amirkhan were published in El-Islah.

From the very beginning, Amirkhan’s artistic prose is characterized by the relevance and citizenship of the main motives, the depth of psychological analysis, mastery of composition, and laconicism.

Knowing that the fate of most women of his time was tragic, the writer did not give up the fight for their emancipation and enlightenment. In 1910, he wrote the story “Blissful Day”, in which he spoke about the backwardness and downtroddenness of the Tatar women - old Mukhip and young Gainijamal.

And in 1911, the writer created the lyrical story “Hayat” - about the worries of a Tatar girl from a merchant family, broken by patriarchal traditions, who did not find the strength to fight for the bright feeling that arose in her, for human rights. She is about to marry a stranger. She fell in love with a student whom she had known since childhood and who, in turn, overcome by sincere feeling, wrote to her: “Perhaps you think that I am not suitable for you because I am Russian, but, my friend, I realized that love is like this a force that does not recognize national differences. My happiness is in your hands, I am waiting for your decision.”

The tragic story is a real reflection of the order of that time. Therefore, we can call Hayat a typical character. Although many researchers of F. Amirkhan’s work consider the story to be a romantic work. For example, D.F. Zagidullina writes: “Top plot syzygyn Khayat kүңlenendә bargan uzgәreshlәr tәshkil itү author’s romanticism sukmagynda kөch sonyn dәlilly.”

In addition to works of art, Fatih Amirkhan's range of interests was wide. Thus, in literary articles he wrote about Gogol, Turgenev, L. Tolstoy, Korolenko, and G. Senkevich. Separate articles are devoted to the work of Gabdulla Tukay.

As noted by D.F. Zagidullina, “excerpts from the diaries, the work “Shafigulla Agai” remain evidence that, despite the fundamental changes in the country, F. Amirkhan remained true to his ideals - serving the Tatar people” (Our translation).

1.2. Some theoretical foundations of literary translation

When translating, they usually rely on several fundamental principles, among which the main ones are:

– lexical (semantic) correspondence;

– stylistic correspondence;

– expressive (emotional) compliance.

Lexical correspondence, although undoubtedly a basic principle, does not imply a “one word, one translation” translation. This principle indicates mandatory reliance on concepts such as lexical compatibility and a clear indication of meaning (in polysemantic words). Here you can point out the common “false friends of the translator”, which are associated with the phenomena of homonymy and paronymy.

Stylistic consistency requires the translator to convey the style of the original text. Those. translate colloquial expressions only into colloquial expressions, etc.

It is especially important when translating to take into account such phenomena as lacunae, exoticisms and idiomatic expressions (phraseologisms).

Gaps and exoticisms can be translated in three ways: using a lexeme as a foreign language inclusion with an explanation; selection of an expression or subject that is closest to lacuna or exoticism and a descriptive method.

G.H. Akhatov points out four ways of transmitting phraseological units in literary translation.

1) Tracing: bash vatu - puzzle, boryn kүtәrү һ.b. Tracing occupies a particularly important place when translating from Tatar into Russian. The reason for this lies, first of all, in the close linguistic and cultural contact of the two peoples. This includes the frequency of transfers, the geographic proximity, and, as a consequence, a large number of borrowings. The issue of tracing borrowings was most fully developed by R.A. Ayupova.

2) Transmission of phraseological units using semi-cripples: Kuzdan yugalu - hide from sight, kuz alu - take your eyes off, boryn tobenda - under your nose.

3) Transfer of a phraseological unit with a phraseological unit of another language similar in meaning: Sin bezneң boten өmetebezne kismakche, ike kulsyz itmakche bulasynmyni - Do you want to nullify all our work (G. Bashirov). It is clear that finding a parallel phraseological unit in the Russian language when translating a text from Tatar is the most successful way. But such parallelisms do not occur often.

4) Conveying the meaning of a phraseological unit in ordinary words, i.e., in other words, a descriptive method of conveying a phraseological unit: tel-tesh tidererlek tugel - you can’t be offended, tel bistase - talker, kuz sortep alu - look.

Based on the indicated theoretical aspects of literary translation, we analyzed G. Timerkhanova’s translation of the story “Hayat” by Fatih Amirkhan.

Chapter two. Features of the translation of the story “Hayat” by Fatih Amirkhan

When analyzing the translation of “Hayat” by Fatih Amirkhan into Russian, we divided all the factual material into four groups:

– lexical inconsistencies;

– stylistic inconsistencies;

– methods of translating gaps and exoticisms;

– a method of transmitting phraseological units.

Based on the above and the four identified groups, we tried to find the main features of the translation of the above story.

2.1. Lexical inconsistencies

Lexical inaccuracies are usually immediately noticed in the analyzed translation work. Moreover, they are often noted by ordinary readers.

G. Khantemirova’s translation of the story “Hayat” is not distinguished by gross errors when the incorrect translation of a word catches the eye. Moreover, the translator, in our opinion, often unnecessarily adheres to the literal translation.

It should be noted that only a few minor deviations from the original text can be found. In some places the translator shortens the original. The following examples can be given: “– Achulanmagyz, Khayat, sin sezne soyam... Minem kүңlemdә sez genә...”  “– Don’t be angry, Hayat. I love you..." ; Or: “– Kherle kitch, matur toshlar, kүңelle uylar, rәkhәt yokylar, – deep, bernichә telәklәr telәde”  “– Good night, have a nice sleep" .

As we can see, in both examples the state of the hero who is in love is not accurately conveyed, and therefore sometimes breaks off in words or becomes verbose. The translator, having shortened Mikhail's words, simply states the basic meaning of his words.

Rarely, there are also additions to the original in the text, which makes the translation look too free. For example: “Khayatnen bolay Tatar irlәrdәn kachuyn Liza yes kүptәn өyrәnep җitkәn ide inde. (...)” is conveyed as follows: “Liza had long been accustomed to the fact that Hayat covered her face from Tatar men, and if it happened that her friend did not have time to notice a passing Tatar in time, she whispered:

“Khaechka, shut up, there’s a Muslim coming!” .

However, in the translation of the story “Hayat” under consideration, we noted individual examples and translation inconsistencies. As an example, we can give a translation of a Tatar folk song:

“Hosniҗamal әytә ikәn:

“Min kiyaүgә baram” – deep;

Әnkәse ңar әytә ikәn:

“Barmagayen, kadal,” – deep” 

“I want to get married,” says Khusnijamal.

“At least get married,

To hell with it,”

Her mother answers her."

In this example, in addition to the inaccuracy of the translation, it can be noted that the rhythm of the Tatar song is broken, where “ikәn” and “dip” are repeated with clear dialogue parallelism.

Changes in the meaning of an entire phrase can also be noted elsewhere. So: “Annan son ul uz-uzenә kilde dә, salkyn һәm unaysyz kolemserәp:

- Gaҗәp! Well; haerle bulsyn! - dide" 

"Strange! Well, God bless them."

In this example, “khaerle bulsyn” and “God is with them” have almost antonymous meanings. In Tatar this means the wish “let it be good,” but in Russian “God is in them” has a slightly different meaning.

The word “manles”, which is close to exoticism (although it has fairly close translations - “gatherings”, “meeting”, “party”, etc.) is also given a fairly free translation: “Manles kunelle ide”  “The conversation flowed merrily, lively."

In general, there are practically no lexical inconsistencies in translation.

2.2. Stylistic inconsistencies

The style of Fatih Amirkhan has its own characteristics. In the story “Hayat” that we are analyzing, stylistic subtleties are presented especially clearly. You can select following features:

– use of Russian borrowings such as “hairstyle”, “educated”, etc.;

– frequent explanations in the texts, which are usually given in parentheses or footnotes. Here we can see F. Amirkhan’s desire to bring the story to the Russian reader, because he explains enough simple words related to Tatar culture and Muslim religion.

In the translation we are considering, the stylistic features of the writer are far from fully conveyed. Firstly, G. Khantemirova misses Russian inclusions, with the help of which F. Amirkhan conveys the peculiarities of the main character’s experience or the general atmosphere of any meeting. For example: “Hayat hairstyle yasap betergәch...” is conveyed, at first glance, exactly: “When Hayat combed her hair...”. In fact, “doing your hair” and “combing your hair” have quite serious stylistic (and sometimes semantic) discrepancies. With the Russian lexeme “hairstyle,” the writer wanted to achieve a greater impact on the reader.

The problem of conveying stylistics and the importance of Russian inclusions when translating into Russian is almost indescribable when a whole phrase is quoted. In our opinion, for such cases the translator found the most acceptable option. So: “Bibi, is Khaechka home? – deep sorady” is translated as follows: “Bibi, is Khaechka home?” – the schoolgirl asked in Russian.” Those. G. Khantemirova here uses a descriptive way of conveying the features of the schoolgirl’s speech.

However, sometimes you can find some liberties with G. Khantemirova. You can point to at least this example, when the translator “Russian Uramyn” translates “Russian quarter”. In addition, the translation is in quotation marks.

Stylistic features The Tatar language can often be found in the peculiarities of lexical compatibility. A clear understanding and sense of language is required here. In the story “Hayat” we found, in our opinion, a not entirely successful example when the exact translation of individual words is conveyed without taking into account their lexical compatibility: “Lakin urmannyn tavyshy Lizanykina karaganda kinrak, tirenrak, kalynrak һәm kartrak shikelle toela; kolaklarda tupasrak, lakin mәһabatrәk toigy kaldyra ide”  “The voice of the forest, compared to Lizin’s, was deeper, more powerful and older; Although it sounded rougher, it sounded more majestic.”

In this example, “voice of the forest” and “urman tavyshi” are stylistically heterogeneous. Firstly, in Russian there are more often “voices of the forest”. Secondly, the Tatar “tavysh” has a broader meaning than the Russian “voice”. In our opinion, the “forest echo” that was discussed in the context could have been left here.

2.3. Translation of gaps and exoticisms

Gaps and exoticisms are the most difficult to translate. The translation that is closest in meaning and style requires from the translator not only an excellent knowledge of two languages, but also the same knowledge of the cultures of the Tatar and Russian peoples.

The greatest departure from the text in the story “Hayat” is observed in the transmission of gaps and exoticism that relate to Islam. In our opinion, this was due to ideological issues. For example: “– Әstәgъfirulla, ya Rabbem, әstәgъfirulla, – deep uylady, bu yalvary astynda “kyafer” dәn һәm “kyafer” not soyudәn Allanyn kodratenә syenu yasherenә ide” is translated as: “- Merciful God, forgive me! God, forgive me!..

With this prayer she asked God for protection from the atheists, protection from her love for the kaafir.”

In this case, besides the fact that Islamic Allah has been replaced simply by God, it is not clear from Hayat’s words who the “atheists” are - atheists or adherents of another faith?

By the way, the exoticism of “kafir” is very successfully explained in the context: “Hayat lay down face down, pressing her chest to a small pillow: he is not a Muslim, he is a kaafir!” .

Exoticisms, as is known, are formalized in translation in several ways: the use of the lexeme in an unchanged form (taking into account graphic and phonetic design); description or selection of an expression (word, phenomenon, object) that is close in meaning in the native language. G. Khantemirova uses all three recognized methods.

For the first case, the following examples can be given: “Bu kalfak, efәk kөltәsenә cholgangan gөl chәchәge (rose) shikelle, kolep tora ide”  “It seemed like the kalfak, like a rose peeking out from a shock of silky hair, smiled joyfully”; Or: “Lakin ul khaman uze bilgelep kuigan ramkadan chyga almy, chonki ul ramkanyn kotochyrgych sakchylar: ally kaisy moftinen chukyngan kyzlarynyn surotlәre saklap tolar ide”  “And yet she is not crossed a line that she herself had determined, because behind this black line stood a formidable guard: faded faces of the mufti's daughters who converted to Christianity"; And also: “In the foyer, Rakhima-Abystay’s family merged with the flow of people walking.”

In our opinion, the use of exoticisms (when necessary, with explanation) is the most the best option transmission of similar words. In addition to lexical and stylistic accuracy in translation, the use of exoticisms leads to a deeper understanding of the culture of the people of the original language.

In the translation of the story “Hayat” there are also cases when the translator selects a related word from the Russian language. In the example below, we can also talk about a descriptive method, since in the Russian language (more precisely, in Christian culture there is no “prayer rug”): “Akhyr tamam buldy! Hәyat tiz-tiz genә selam birde! ¡әһәt kenә namazlykny alyp ber җirgә atty da uz bulmәsenә chykty”  “Finally, the namaz is over. Hayat quickly made her last bows, threw the prayer rug into the corner and went to her room.”

In the translation of the story “Hayat” one can find cases of the use of exoticisms that are not in the original text. For example: “Әni belsә, hәzrәtenә dә әitterer әle,” – dide is translated as follows: “Well, if mom finds out, she will bring it to the attention of his mudarris.”

In our opinion, in this example we could limit ourselves to another exoticism: khazret - a clergyman.

Sometimes the translator simply leaves out exotic words. In the translation under consideration by G. Timerkhanova, such examples are justified, since the exoticisms in these examples do not carry an important message. For example: “Argan kүzlәrenen yal itә torgan berdәnber kәgаbәse bulyp tordy”  “... became a rest for the eyes when he, tired of reading, took them away from the books.”

In the above example, “kagbә” means “Kaaba”, i.e. "object of prayer"

In general, G. Timerkhanova translates gaps and exoticisms quite arbitrarily, and most often in the first way, i.e. uses foreign language lexemes with appropriate explanations.

2.4. Translation of phraseological units

Phraseological units, just like lacunae, create difficulties for the translator. As stated above, they can be translated in three ways.

In the translation of the story “Hayat”, phraseological units are not used much. We found only a few examples. The very style of Fatih Amirkhan suggests this.

Firstly, the translator sometimes uses phraseological units in Russian, despite their absence in the original language. This gives the translated text a certain expressiveness. For example: “Rәkhimovlarnyң kin bizәүle һәm bay tormishlary Khayatta bolarga karshy zur kүru (tagyzyym) toygysy kuzgata ide”  “The Rakhimovs lived richly, in grand style. This made Hayat respect them."

In other cases, the translator uses the method of tracing phraseological units. As an example, the following can be given: “Any өyrәtergә yaramy, imesh... Bik shap esh eshladen inde: kyzlaryny ashatmy kaldyrdyn, sin tyryshmagan bulsan, st bezne ashagan bulyr ide... – deep uylady”  “You can’t, you see, teach her ... – frustration gnawed at her. “And what a good thing she did: she saved her daughters from being eaten,” she quipped to herself.”

In this example, the figurative meaning of “ashatyrga” - “eating” is scaled.

The language of the story “Hayat” by F. Amirkhan is not rich in phraseological phrases. Therefore, the most important thing is to convey the emotional experiences of the heroes, to reveal their psychological characters.

Main conclusions:

– in G. Timerkhanova’s translation there are certain inaccuracies associated with unsuccessful transfer of lexical compatibility of words;

– in conveying gaps and phraseological units, the translator uses all methods: from inclusions to description. But most often it is the “interspersed method” followed by a footnote.

Conclusion

At the present stage, with the intensive integration of the world community, the art of translation is beginning to play more and more importance. However, at the same time, with the development of electronic translation, “literal translation” is becoming increasingly developed. The need to quickly translate journalistic texts makes the art of translation increasingly mechanical. Therefore, today the need for a theoretical study of translation theory is becoming a big problem.

– the translator of the story “Hayat” was able to convey the expressiveness and psychological nature of the lyrical story. Accurately outlined psychological picture main character;

– in G. Timerkhanova’s translation there are certain inaccuracies related to ideology: for example, not entirely accurate translation of prayers, etc.;

– in conveying gaps and exoticisms, the translator uses all methods: from inclusions to description. But most often it is the “interspersed method” followed by a footnote;

– in general, G. Timerkhanova managed to accurately convey the writer’s style, which is distinguished by laconicism and psychological accuracy.

In the future, literary translation from Tatar into Russian, in our opinion, will be carried out more on the basis of “literal translation”, which is associated with the interpenetration of the cultures of the two peoples. The main methods of transmitting gaps and phraseological units should be tracing and inclusion of exotic lexemes.

Topper P. Translation and literature: creative person translator // Questions of literature, No. 6, 1998. – P. 178-199.

Literary translation: problems and judgments. Collection of articles / Compiled by L.A. Anninsky. – M.: Izvestia, 1986. – 576 p.

Yusupov R.A. Tәрҗмә teoriyasenә keresh. – Kazan, 1972. – 88 b.

Yusupov R. A. Tәrҗemә һәm tel kulturasy. – Kazan: Tatar whale. nәshr. – 1973. – 128 b.

Today we will tell you who Fatih Amirkhan is. His biography will be discussed in detail below. We are talking about a writer, a caustic and ironic publicist, whose pen did not spare the most influential and respected Muslims. He was also a wise liberal thinker.

Biography

Fatih Amirkhan managed to create such amazing prose works that he was called the most soulful lyricist of his people. He was born in 1886, January 1, in Novotatarskaya Sloboda. His father was the imam of the Iske-Tash mosque. His family went back to the Murzas of the Kazan Khanate. Our hero's childhood was spent reading the Koran, as well as the kind instructions of his mother, a kind-hearted, enlightened woman. Fatih Amirkhan studied at the parish mekteb for two years. In 1895, at the insistence of his father, he transferred to the Muhammadiyah madrasah, the largest school in Kazan. This institution was led by teacher and religious figure G. Barudi. Our hero spent ten years in this educational institution.

Education

Fatih Amirkhan received an excellent theological education, as well as excellent knowledge of the literature of the East and its history. In addition, he acquired Russian language skills and discovered a number of secular sciences. Our hero began to become interested in Russian culture. He showed curiosity about both its Russian and European foundations. The future writer began to ask questions about the main reasons for the lag eastern civilization. By nature, being a leader, but at the same time an enterprising person, he rallied around himself a group of people who also felt that the framework of a religious school was too small for them.

Ittihad

Fatih Amirkhan in 1901, together with his friends, became the organizer of the secret circle “Unity”. In his native language, this organization was called “Ittihad”. The circle's goal was to improve the living and material conditions of students. In addition to holding meetings and publishing a handwritten journal, the association staged a national theatrical production in 1903 - the play “The Unhappy Young Man.” This event was one of the first of its kind. Our hero continuously tried to fill the lack of knowledge. As a result, the future writer got a tutor. It was S.N. Gassar, a Social Democrat. Frequent communication with this man, as well as with Kh. Yamashev, aroused in our hero a keen interest in political life.

Activity

During the Russian Revolution, Fatih Amirkhan plunged headlong into organizing the Reform student movement. He participated in all congresses of Muslims in Russia. In 1906, our hero leaves his home. Fearing persecution, he leaves for Moscow. Here he works on the magazine "Raising Children". Our hero's debut journalistic experiences appear on the pages of this publication. Soon the return of Fatih Amirkhan took place. He visited Kazan in 1907. He managed to once again become the leader of the youth. However, tragedy struck. In 1907, on August 15, our hero became ill. He ended up in the hospital. The diagnosis is paralysis. The illness confined the writer to a wheelchair. Only character, will, and the support of his parents and friends allowed him to return to creative and social activities. His long-time dream came true - the first issue of the publication “El-Islah” was published. Perhaps it was the most daring and uncompromising newspaper of that time.

Creation

We have already described above how Fatih Amirkhan became a publicist. His stories began to appear in the newspaper mentioned above. The first of them - “A Dream on the Eve of a Holiday” - was published in October 1907. In this work we're talking about about a secular national holiday where social and interethnic harmony reigns. A number of our hero’s literary creations (in particular the story “Fathulla Khazret”, published in 1909) are characterized by merciless, often unfair ridicule of the clergy, which is combined with the creation of an artistic utopia about the happy and joyful life of the Tatars, in which there is a place for culture, technology progress, as well as Islam.

The writer’s works, which are dedicated to the spiritual quest of Muslim Tatar youth in the conditions of the revolutionary and national movement, brought enormous popularity to the writer. Special mention should be made of the story “Hayat”, the novel “At the Crossroads”, as well as the drama “Unequal”. These works were mostly created on the basis of life facts and personal impressions of the author. In them, he revealed a world of doubting, reflective and restless youth who are not ready, even in the name of a tempting dream, to break forever with faith, traditions and their people. Thus, in the soul of our hero there was an evolution towards national and liberal values, the idea of ​​harmony and public peace. The writer did not accept the revolution. He looked for beauty and harmony in everything, so he wrote with pain and indignation about rampant crime, devastation, undeserved privileges, neglected monuments, and immoral behavior of leaders.

LOST ILLUSIONS HAYAT

We were looking forward to this premiere with special interest, since the script for it was written by Chelny journalist Ravil Sabyr. Having learned that our colleague wrote a play based on the story “Hayat” by Fatih Amirkhan, I immediately thought: “He is not looking for easy ways.” After all, in order to aim for a dramatic rethinking famous work Tatar literature, you must agree, one must have a certain amount of courage and even audacity. If only because the story “Hayat”, written by Fatih Amirkhan back in 1911, would seem to reflect the historical trends of a “different era”.

Then, at the dawn of the twentieth century, the educational movement of the Jadids arose, who saw their mission as “building” a spiritual bridge between the Eastern and European worlds - to overcome the political and religious inertia that hindered development Tatar people, and make a leap towards civilization. Fatih Amirkhan is one of the prominent Jadids. His story “Hayat” is based on the story of the fate of a Tatar girl who, finding herself inside a love triangle, made the wrong choice: having a heartfelt sympathy for the youngest of the Arslanovs’ sons - a handsome student, an adherent of Jadidism Gali, due to fatal circumstances, she agrees to marriage to his older brother, Mullah Salih, “like a sick chicken.” According to the author, Hayat, choosing between his brothers, rushes between the old and new way of life. Is it possible to give “pre-revolutionary” passions a modern sound, we asked ourselves as we went to the premiere of the play “Hayat”. It turned out yes.

This became possible largely thanks to the directorial discovery of Bulat Badriev - main role he gave it to the non-professional artist Guzel Ismagilova. As the director himself said at a press conference, “there is a lot of naiveness and genuineness in the image of Hayat, and to embody it on stage, I needed a girl who is not familiar with the basics of acting.” Despite the lack of acting practice, Guzel was able to show on stage a rather complex “evolution” - the transformation of an angular teenager into a real woman. There was even something Tolstoyan about her, from Natasha Rostova.

But, as you know, a good diamond needs an appropriate setting. This is exactly how Hayat’s friends were perceived from the audience – Kazanly brought the role of the sparkling Liza Chulpan to perfection. And Enzhe Shigapova, playing the role of Amina, seems to have proven to all viewers that female friendship does exist. However, the entire ensemble of actors played just as brilliantly - like in a well-coordinated orchestra, the “sound” of each of them could be heard in the performance. The audience especially remembered Mustafa Rakhimov, performed by Insaf Fakhretdinov, who played very convincingly!

The work of the performance designer Rania Khairullina was also memorable. Thanks to her creative idea, the scenery, which did not change at all throughout the entire production, easily “turned” into the house of the merchant Gimadov, then into a merchant’s club, then into the Volga bank. Two colors prevailed in the decorations - blue and yellow. The first personified space and the infinity of the claims of a young soul, and yellow is a betrayal of these plans... The fact that the scenery was perceived organically by the audience is also the merit of the composer and sound engineer Niyaz Tarkhanov, who “helped” our imagination, alternately including the sounds of the surf floating past a steamship with a gypsy camp on board, a departing crew...

In addition, the performance had many details that were clearly designed by the director and helped the audience to feel the drama of a particular scene. The scene was especially expressive when Hayat scatters apples, having learned that at Nikah, instead of her beloved Gali, the pathetic Salih will sit next to her... An overturned basket with yellow apples generally became a symbol of the play about the fate of a girl whose romantic aspirations were sacrificed to traditions. Moreover, what is important, the girl’s father Burgan (artist Bulat Salyakhov) gives Hayat the right to choose her own future. However, genetic ties turn out to be stronger than the progressive views of the father and external circumstances...

Elvira MUKHAMETDINOVA. "Evening Chelny"

The whole world knows the names of science fiction writers who predicted the emergence of such modern technical achievements as, for example, a submarine or an atomic bomb. And there is an opinion that no one has yet been able to foresee the advent of smartphones. But back in 1909, the Tatar writer Fatih Amirkhan described a similar apparatus in his story “Fathullah Hazrat”.

A correspondent for the Tatar-inform agency decided to find out why the forecast of the Tatar writer, who was the first in the world to describe a smartphone and video communication, went unnoticed. Why doesn't the world know about Fatih Amirkhan's prediction?

They say that great creators have the gift of foresight. Here are some authors who predicted the technical discoveries of the future in their works:

Jules Verne "Twenty Thousand Leagues Under the Sea", 1869 - submarine; Arthur Clarke “The City and the Stars”, 1956 – online computer games; H.G. Wells "The World Set Free", 1914 - explosion of the atomic bomb;

H.G. Wells “When the Sleeper Awake”, 1899 – automatic doors; H.G. Wells “War of the Worlds”, 1898 – laser; Ray Bradbury "Fahrenheit 451", 1950 - headphones;

Robert Heinlein “...And we also walk the dogs”, 1941 – pocket phone; Alexander Kazantsev “Dome of Hope”, 1980 – laboratory making artificial food; Alexander Belyaev “KETS Star”, 1936 – a man in space.

There is information that a cell phone was first described in 1910 by American journalist Robert Sloss, and a smartphone was mentioned in a work by Robert Heinlein in 1941. But Tatar writer Fatih Amirkhan foresaw smartphones and video communications earlier.

The story “Fathullah Hazrat,” written in 1909, describes life in Kazan in 1950. The main character, Fathullah Hazrat, dies, after 42 years he is resurrected again and begins to live in conditions modern society. The author writes about a society that has gone far ahead both scientifically, technically and culturally: a flying airboat, a telephone with a mirror, houses that have the appearance of a person, people flying with wings, experiments with resurrection, and much more.

The future through the eyes of Fatih Amirkhan:

Buildings made from mirror

Modern houses covered with mirror coating still surprise us today. And Fatih Amirkhan wrote about this phenomenon back in 1909.

“Leyla was driving Minsylu home in a closed car, and Minsylu couldn’t see either the street or the sky above her head. Now she was shocked by the shape of the stone buildings, the luxurious mirrored palaces.”

Buildings that resemble people

According to Fatih Amirkhan's forecasts, in 1950 houses will be built whose appearance is similar to a person. Such buildings, although very rare, are found in some countries.

“From her window on an endlessly long street in the distance one could see a huge building, the appearance of which resembled a human figure. At the sight of this “man,” Minselu’s breath caught in horror, her knees began to tremble, she wanted to scream, but could not. It seemed to her that she saw the giant Guzh, the son of Gunyk, who would soon drink all the water in the rivers and eat all the food in the city.”

Electronic toys

Fatih Amirkhan writes about electronic toys that can now be bought in any store.

“Real trees and flowers grew in the garden, the flowers were fragrant, filling the air with a wonderful smell, on the tree branches unprecedented electric birds of extraordinary colors chirped with amazing voices.”

Helicopter

Fatih Amirkhan writes about the “air boat”.

“Suddenly, music reached Fathullah’s ears. He looked to where the music was playing and saw a large airship with about six to seven hundred people sitting in it. The ship was approaching, and a hundred people on board were performing the “Air March” on trumpets.

“The boat flew up to Doctor Akhmet’s house, and our travelers got out of it onto the balcony.”

This can be called the writer’s forecast, but it can also be explained by his awareness of the latest achievements of that time. The first helicopter was tested in France in 1907, but helicopters became widely used only in the middle of the 20th century.

Smartphone with front camera

Already in 1909, Fatih Amirkhan writes about smartphones with a front camera.

“As soon as he had time to utter these words, a bell rang quietly near him. The sound came from Akhmet's breast pocket. Akhmet took out some object from there that looked like a mirror and began to look at it. A minute later, to the astonishment of the Right Reverend, the mirror began to speak in human language.

Frightened Fatkhullah saw the image of Leili in the mirror. Akhmet talked with his daughter, but Fathullah did not understand anything from their conversation.

– Suppose you invented this magic mirror using the science of simiya? – he asked when Akhmet, having finished the conversation, put the mirror in his pocket.

Akhmet explained that this is not a mirror, but a mirror wireless telephone.”

The cell phone was invented in 1957. Camera phones only came into use in the 2000s.

Online video communication

Fatih Amirkhan described a video conference in the story - a common occurrence for us today.

“A bell rang in the room. Before I had time to figure out who was calling, I saw in front of me on the glass set into the wall a young man standing with a carefree look. (This glass was a telephone mirror invented in the mid-twentieth century, which showed the height of the person speaking on the phone, and to the ignorant it seemed that a living person was standing in front of him).”

“...Beside himself with indignation, he grabbed a chair and attacked the young man. The mirror shattered into hundreds of pieces, and the young man disappeared; “Bluish sparks rained down from the ends of the broken wires, crackling.”

Videoconferencing (using a wired telephone) was first tested in 1947 at the USSR Television Research Institute. Mass distribution began only in 1999.

Flying people

Fatih Amirkhan believed that people of the future will fly.

“He looked out the window: at that moment two young men and two girls flew in the air on attached wings. Now the Most Reverend Fathullah has decided that he, of course, lives in the palaces of heaven.”

Richard Browning tested a special suit he invented on September 28, 2017. He entered the Guinness Book of Records, flying at a speed of 50 km/h.

Revival of the dead is still at the forecast level

“Not even an hour had passed when the deceased sneezed. After a while he sneezed again and exclaimed: “Allah! God bless!” Now the professor asked the students to leave the audience, since the lively one needed peace. After another hour, His Eminence Fathullah opened his eyes, carefully rose up and sat down.”

Why did the work of Fatih Amirkhan remain unknown to the world?

Why didn’t this work of Fatih Amirkhan gain worldwide fame and become as popular as the works of other science fiction writers? We addressed this question to literary scholars who have studied Amirkhan’s work.

“We ourselves are to blame for the fact that Amirkhan did not become famous as a great science fiction writer”

Candidate of Philological Sciences, Associate Professor Tagir Gilyazov:

– To some extent, we are also to blame for the fact that Fatih Amirkhan did not become famous as a science fiction writer. Due to the fact that he described the existence of ordinary people, the life of “low people”, the rural poor, Fatih Amirkhan was subjected to harsh criticism in the 1920-1930s.

Amirkhan received a city upbringing. Although he was the son of a mullah, he knew well the economy, history, change of societies and understood the role played by their aspects. Baki Urmanche sees the writer as one of the geniuses who headed for Europe.

Let's take a look at his biography: at the very dawn of his youth, he remained confined to a wheelchair. This was a great tragedy for him. But throughout his life he remains a strong personality. I read his letters, articles, works. There is not a hint of despondency in any of them. Strong spirit, acceptance of his fate or acceptance of the fate prepared for him by Allah... Until now, this remains a mystery.

It seems to me that the gift of foresight is due to the fact that Fatih Amirkhan was a strong personality. In addition, he studied in Moscow and Samara, and was well acquainted with the Russian world. Apparently, although we do not associate it with any political party, Fatih Amirkhan was familiar with the works of Marx, Engels, Lenin, the writer was well versed in religious literature.

It is clear that he was familiar with Islamic culture and philosophy, which have become integral elements of our life, our spirit. As you know, he was not limited to national boundaries, he had an excellent understanding of world literature, culture, its course and flow.

The works of Fatih Amirkhan were not published in Russian, were not translated into European languages, they do not know about them... We all write in Tatar.

Fatih Amirkhan needs to be presented to the world in English so that he can be written about in the foreign press, so that he can be understood and appreciated.

“Fatih Amirkhan was able to foresee the future”

Candidate of Philological Sciences, Associate Professor Alfat Zakirzyanov believes that the idea of ​​the story “Fathullah Hazrat” is far from fantasy, which is why the work did not gain fame.

– The purpose of this work is to expose the negative phenomena that impede the revival movement. Fiction here appears only as literary device. The work was not written within the fantasy genre; the writer did not set himself such a goal. Science fiction is just a device to describe in all its glory people with backward views.

If we take other science fiction writers, their main goal is to talk about scientific and technical achievements. Probably the reason that the work was not widely reflected lies in the fact that the main character is rather rude, impolite, and also a supporter of the past, which has become obsolete. On the one hand, the author's assumptions about the future could become the basis of a wonderful work of science fiction. But why didn’t Fatih Amirkhan develop the plot in this direction? Unfortunately, we can only guess about this.

Fatih Amirkhan, just like world famous science fiction writers, predicted the future. The question of why we underestimate it and do not present it to the general public is quite controversial.

Amirkhan was able to foresee the future. If we consider him as a science fiction writer, we come to an interesting, instructive fact. And in the work, the author describes Hazrat Fathullah as an object of ridicule, thereby predictions, thoughts and assumptions about the future lose their meaning and become only the background of the events of 1950.

“The fiction in the work does not have the desired effect”

“I don’t think we can somehow glorify this work.” Fantastic elements will not become the main component of the work, because the work is not written in the fantasy genre, and main idea The story lies on a completely different plane. For example, Saif Sarai has the following lines: “As the month revolves around the Earth, so the girl began to circle around the young man.” This was said several centuries before Copernicus! But this is not a discovery, but only a literary device,” says Zakirzyanov. – But this, of course, cannot be ignored. Someone might pay attention to this.

Fatih Amirkhan knew the Koran well. Today we know that the phenomena described in the holy book of Muslims take place in our lives. He probably felt and saw these important thoughts in the Koran, that is, for his time he was, without a doubt, a man of progressive views. The writer, who knows Russian and European literature, was looking for ways to depict it. And then he gave preference not to the elements of fantasy, but to the exposure of his hero.

Muhammetfatykh Zarifovich Amirkhanov - Fatih Amirkhan was born in 1886 in Kazan. He graduated from the Muhammadiyah madrasah and studied Russian in Samara. The newspaper “Al-Islah” begins to be published. Works in Moscow. In 1907 he returned to Kazan, being paralyzed and unable to walk. In addition to Al-Islah, he works in the editorial offices of the publications Yalt-Yolt and Koyash. Beginning to write in 1907 literary works. His most famous work is the story “Hayat”, written in 1911. Author of the first satirical novel in the Tatar language. In 1923-1924 he taught at the technical school of the Tatar theater. In 1924, he wrote the satirical story “Shafigulla Agai”, in which he exposed the cult of personality and criticized the glorification of Lenin’s name. In 1926 he died in Kazan.

LOST ILLUSIONS HAYAT

We were looking forward to this premiere with special interest, since the script for it was written by Chelny journalist Ravil Sabyr. Having learned that our colleague wrote a play based on the story “Hayat” by Fatih Amirkhan, I immediately thought: “He is not looking for easy ways.” After all, in order to attempt a dramatic rethinking of a famous work of Tatar literature, you must agree that you must have a certain amount of courage and even audacity. If only because the story “Hayat”, written by Fatih Amirkhan back in 1911, would seem to reflect the historical trends of a “different era”.

Then, at the dawn of the twentieth century, the educational movement of the Jadids arose, who saw their mission as “building” a spiritual bridge between the Eastern and European worlds - to overcome the political and religious inertia that hindered the development of the Tatar people, and to make a leap towards civilization. Fatih Amirkhan is one of the prominent Jadids. His story “Hayat” is based on the story of the fate of a Tatar girl who, finding herself inside a love triangle, made the wrong choice: having a heartfelt sympathy for the youngest of the Arslanovs’ sons - a handsome student, an adherent of Jadidism Gali, due to fatal circumstances, she agrees to marriage to his older brother, Mullah Salih, “like a sick chicken.” According to the author, Hayat, choosing between his brothers, rushes between the old and new way of life. Is it possible to give “pre-revolutionary” passions a modern sound, we asked ourselves as we went to the premiere of the play “Hayat”. It turned out yes.

This became possible largely thanks to the directorial discovery of Bulat Badriev - he gave the main role to the non-professional artist Guzel Ismagilova. As the director himself said at a press conference, “there is a lot of naiveness and genuineness in the image of Hayat, and to embody it on stage, I needed a girl who is not familiar with the basics of acting.” Despite the lack of acting practice, Guzel was able to show on stage a rather complex “evolution” - the transformation of an angular teenager into a real woman. There was even something Tolstoyan about her, from Natasha Rostova.

But, as you know, a good diamond needs an appropriate setting. This is exactly how Hayat’s friends were perceived from the audience – Kazanly brought the role of the sparkling Liza Chulpan to perfection. And Enzhe Shigapova, playing the role of Amina, seems to have proven to all viewers that female friendship does exist. However, the entire ensemble of actors played just as brilliantly - like in a well-coordinated orchestra, the “sound” of each of them could be heard in the performance. The audience especially remembered Mustafa Rakhimov, performed by Insaf Fakhretdinov, who played very convincingly!

The work of the performance designer Rania Khairullina was also memorable. Thanks to her creative concept, the scenery, which did not change at all throughout the entire production, easily “turned” into the house of the merchant Gimadov, then into a merchant’s club, then into the Volga bank. Two colors prevailed in the decorations - blue and yellow. The first personified space and the infinity of the claims of a young soul, and yellow is a betrayal of these plans... The fact that the scenery was perceived organically by the audience is also the merit of the composer and sound engineer Niyaz Tarkhanov, who “helped” our imagination, alternately including the sounds of the surf floating past a steamship with a gypsy camp on board, a departing crew...

In addition, the performance had many details that were clearly designed by the director and helped the audience to feel the drama of a particular scene. The scene was especially expressive when Hayat scatters apples, having learned that at Nikah, instead of her beloved Gali, the pathetic Salih will sit next to her... An overturned basket with yellow apples generally became a symbol of the play about the fate of a girl whose romantic aspirations were sacrificed to traditions. Moreover, what is important, the girl’s father Burgan (artist Bulat Salyakhov) gives Hayat the right to choose her own future. However, genetic ties turn out to be stronger than the progressive views of the father and external circumstances...

Elvira MUKHAMETDINOVA. "Evening Chelny"

Today we will tell you who Fatih Amirkhan is. His biography will be discussed in detail below. We are talking about a writer, a caustic and ironic publicist, whose pen did not spare the most influential and respected Muslims. He was also a wise liberal thinker.

Biography

Fatih Amirkhan managed to create such delightful prose works in the Tatar language that he was called the most soulful lyricist of his people. He was born in 1886, January 1, in Novotatarskaya Sloboda. His father was the imam of the Iske-Tash mosque. His family went back to the Murzas of the Kazan Khanate. Our hero's childhood was spent reading the Koran, as well as the kind instructions of his mother, a kind-hearted, enlightened woman. Fatih Amirkhan studied at the parish mekteb for two years. In 1895, at the insistence of his father, he transferred to the Muhammadiyah madrasah, the largest school in Kazan. This institution was led by teacher and religious figure G. Barudi. Our hero spent ten years in this educational institution.

Education

Fatih Amirkhan received an excellent theological education, as well as excellent knowledge of the literature of the East and its history. In addition, he acquired Russian language skills and discovered a number of secular sciences. Our hero began to become interested in Russian culture. He showed curiosity about both its Russian and European foundations. The future writer began to ask questions about the main reasons for the lag of Eastern civilization. By nature, being a leader, but at the same time an enterprising person, he rallied around himself a group of people who also felt that the framework of a religious school was too small for them.

Ittihad

Fatih Amirkhan in 1901, together with his friends, became the organizer of the secret circle “Unity”. In his native language, this organization was called “Ittihad”. The circle's goal was to improve the living and material conditions of students. In addition to holding meetings and publishing a handwritten journal, the association staged a national theatrical production in 1903 - the play “The Unhappy Young Man.” This event was one of the first of its kind. Our hero continuously tried to fill the lack of knowledge. As a result, the future writer got a tutor. It was S.N. Gassar, a Social Democrat. Frequent communication with this man, as well as with Kh. Yamashev, aroused in our hero a keen interest in political life.

Activity

During the Russian Revolution, Fatih Amirkhan plunged headlong into organizing the Reform student movement. He participated in all congresses of Muslims in Russia. In 1906, our hero leaves his home. Fearing persecution, he leaves for Moscow. Here he works on the magazine "Raising Children". Our hero's debut journalistic experiences appear on the pages of this publication. Soon the return of Fatih Amirkhan took place. He visited Kazan in 1907. He managed to once again become the leader of the youth. However, tragedy struck. In 1907, on August 15, our hero became ill. He ended up in the hospital. The diagnosis is paralysis. The illness confined the writer to a wheelchair. Only character, will, and the support of his parents and friends allowed him to return to creative and social activities. His long-time dream came true - the first issue of the publication “El-Islah” was published. Perhaps it was the most daring and uncompromising newspaper of that time.

Creation

We have already described above how Fatih Amirkhan became a publicist. His stories began to appear in the newspaper mentioned above. The first of them, “A Dream on the Eve of a Holiday,” was published in October 1907. This work is about a secular national holiday, where social and interethnic harmony reigns. A number of our hero’s literary creations (in particular the story “Fathulla Khazret,” published in 1909) are characterized by a merciless ridicule of the clergy, which is combined with the creation of an artistic utopia about the happy and joyful life of the Tatars, in which there is a place for culture, technological progress, and freedom choice of faith.

The writer’s works, which are dedicated to the spiritual quest of Muslim Tatar youth in the conditions of the revolutionary and national movement, brought enormous popularity to the writer. Special mention should be made of the story “Hayat”, the novel “At the Crossroads”, as well as the drama “Unequal”. These works were mostly created on the basis of life facts and personal impressions of the author. In them, he revealed a world of doubting, reflective and restless youth who are not ready, even in the name of a tempting dream, to break forever with faith, traditions and their people. Thus, in the soul of our hero there was an evolution towards national and liberal values, the idea of ​​harmony and public peace. The writer did not accept the revolution. He looked for beauty and harmony in everything, so he wrote with pain and indignation about rampant crime, devastation, undeserved privileges, neglected monuments, and immoral behavior of leaders.