Abstract
Keywords
Macrocosm, modern Circassian poetry, gender, darkness
Introduction
Circassian literature of the post-Soviet period, based on the then newly emerged concept of the macrocosm and personality, exacerbated the layer of creative immersion in being. The word-creation of poets, caused by the oppressive destruction of perestroika, is often aimed at regulating ordinary issues, necessarily saturated with black-and-white problems and its antipodes. Black gloom, not only in landscape decor, but also in character portraits, has intensively captured the postmodern manifestations of many planetary cultures. In particular, the basic text, which should be cited when talking about the forces of evil in the West cultures, is the "Bible" and its demonic characters. However, scientists today often emphasize the actual absence of really derived representatives of evil in the biblical text. In addition to the Serpent as the main character in the "Book of Genesis", carrying a free supply of information to man, there is only an abstract Beast, as the main character in the book "Revelations", predicting the end of life and acting as the last planetary ruler. This abruptly ends here the satanic series, and the evil deeds performed in the biblical psalms belong to the hand of a human or even divine. There is also no direct description of any particular kingdom of darkness.
Only in the second half of the XIII - early XIV centuries. Dante Alighieri, a brilliant representative of Italian culture, being a worthy civilizational thinker, religious figure and native speaker, produces with his pen a "Comedy" that combines the late Middle Ages. It contains and outlines in detail a demonic character who builds and protects his own dark empire. According to scientists, directly through the works of Dante in Christian culture, specific hellish and heavenly pictures arose, sometimes occupied by the author in other civilizational models and converted to Christianity. Thus, the great and then unexpected "Divine Comedy" threw demonic pearls into the necklace of world culture, which at that time did not have clear artistic descriptions of the kingdom of evil.
Subsequently, only in the 17th century british poet John Milton, who belongs to the classics of English culture, its religious and political word-creator, thinking philosopher and revered orator, in his treatises and pamphlets launched the image of Lucifer as a representative of evil that exists today in world civilization. The rise and fall of the protagonist-demon, by analogy with the alien myths borrowed by Dante, are outlined by J. Milton in Paradise Lost, attributed to the genre of the poem. The most active representative among the angels, light-creating and previously gratuitous, ventured to ascend his own throne to the top of the peak, despite the divine regalia. This could not but cause discontent of the Almighty, who, in his rage, expelled the freedom-lover. Ultimately uttering the well-known phrase about the preference "to rule in hell" over serving in heaven, Lucifer triumphantly left the Kingdom of God, building his own dark kingdom in opposition to it.
In Russian literature, current authors who have been creating science fiction already in the post-Soviet era touch on the line of the dark kingdom and its representatives much more intensely in comparison with their foreign colleagues. Apparently, they, who acquired any religious canons only in the 90s. XX century, a very young pro-Christian dogma is less inherent. Domestic fantasy production in the field of literary texts has not yet established itself in any word-creation standards. John Tolkien, who was in Western literature and carried postmodernism, is considered an artistic standard, a teacher, a classic for his followers. Neither in the USSR nor in Russia there was anything similar, and this made it possible today, already beyond the boundaries of atheistic prohibitions, to demonstrate a considerable intention. So, for example, the intention is noticeable not only in the text, but also in other cultural formats. In particular, government-funded groups that sometimes discuss the image of light and darkness in Russian literature gather: on August 13, at 17.00, 2008, a discussion club meeting on a relevant topic was held in the library of world art culture of the Chitai-Gorod business center. According to the organizers, the discussion is based on the main works of art, bearing dark and light characters - God, the Devil, angels, devils and other ministers or representatives of dark or light forces. At the beginning of the discussion, the presentation of the problem of confrontation between dark and light sides took place, based on the material of the first folklore works (fairy tales, epics, myths about the universe), the first written monuments (the lives of the saints) and with the conclusion of literary works of our time. Thus, a free discussion took place in the indicated format.
The direct, concentrated flame of the new century with a special and careful comprehension of the macrocosm in its darkness tangibly predetermined the creative searches of a whole series of Circassian poets. After perestroika in the country, it became necessary to say a much more permissible truth about the ethnos and its history, which had previously been placed under an immutable ban. There is a conversation about the imperial wars in the Caucasus, about the tragic expulsion from their native spaces, vivid episodes of the thousand-year national fate of the Circassians arise, and the plots of their habitation in newly acquired conditions also become possible. At the same time, the internal environment of both the individual and the ethnos, which can shine with an unfading ray, shine with abundant facets that feed the genres of art (word, dance, song, painting, etc.), becomes a very noticeable object for modern authors. In reality, according to the book produced today by the Circassian poets, it is permissible to see and reasonably conclude: “to love, create and bear fruit – this is the core principle of every Adyghe word-creator” (Khuako F, 2015). Productivity is one of the basic lines in the ancient moral Aristotelian environment. At the same time, Aristotle unconditionally attributed such a personal line to the number of personal qualities. As far as it is even today, it is permissible to call the position in which the speaker develops the most effective work, which stipulates the reader's respect, sincere perception, by word-creative productivity. Such linearity in a literary text also lasts, strengthens, intensifies from the carriers of today's lyrical space, which can develop an abundance. According to one of the modern Circassian researchers, Professor Shamset Erguk-Shazzo, at the moment of the emergence of this lyrical stream “we are dealing with an extremely complex phenomenon, with a continent, a planet that live their own life, with their colors, sounds, smells, etc." (Shazzo-Erguk Sh, 2005). In addition, according to her, at the moment, in a single move into poetry came "... interesting lyrics with a pronounced epic bias, poets thinking, understanding life, able to see its colors" (Shazzo-Erguk Sh, 2005).
In such word-creative productivity, mandatory personality traits, as well as talented author's donations, acquire manifestations. Scientists unanimously refer to such an ingenious system of the Circassians of the new century, firstly, Nalbiy Kuek, after - the newer word-creators who came later, in particular: Mugdin Tlekhas, Shambiy Kuev, Muliat Emizh, Sanyat Gutova, Timur Derbe, Mugdin Medzhashev, etc. For some of them, the productive borrowing of N. Kuek's mythopoetics is one of the most effective ways of presenting in creativity. The above-cited professor Sh. Erguk-Shazzo describes a similar process in a similar way: “a group of young people who, in our opinion, experienced the direct spiritual influence of N. Kuek, and now have become respectable authors - Muliat Emizh, Tlehas Mugdin, Khunagova Saida, Gutova Sanyat, Khurumov Khusen, a dozen other young authors clearly writing “for Nalbiy” (Shazzo-Erguk Sh, 2005). The modern Circassian authors Muliat Emizh and Gutova Sanyat, who are analyzed by us today for the presence of the blackness of the macrocosm in their feminine poetic line, combine mental Circassian preferences with the general global tendencies of the postmodern dark macrocosm in their work. In this case, not only artistic, but also journalistic manifestations of such combinations are possible, since the selected authors are biographically close to the frequent media environment today. So, in particular, Sanyat Gutova is the presenter of the radio programs of the State Television and Radio Broadcasting Company "Adygea", a member of the Writers' Union of Russia since 2000. She is the author of the lyrical Adyghe language collections "Keblag" (= "Welcome"), "Waipch" (= "Time to make a wish"), the book of stories "ShIenyge shef" (= "Secret knowledge"), the book "Tkhyphe" (= "Patterns”), which included poems, poems, a story. The new book by S. Gutova "GushyIer MakIeu" (= "Without further ado ...") was published in Maykop in 2016. Such a productive selection clearly demonstrates the author's word-creative fruitfulness. Or another author chosen by us (Emizh Muliat), active in the second half of the last century, was born in the village of Assokolay in Adygea and after completing secondary school in 1968 she studied for three years at the singing department in one of the educational institutions of the Kuban capital (Krasnodar). For many years in the second half of the twentieth century poetry, screenplays by her (M. Emizh) were published on the lines of central newspapers and magazines. At the same time, her drama was staged in the Circassian language in the Adyghe Drama Theater ("You are an Adyg, boy!"). In addition, M. Emizh constantly carried out periodic Russian-Circassian and Circassian-Russian translation broadcasts. Thus, we see the closeness of the art authors considered by us as research objects to the media environment that paints the realities of life.
Material and Methods
The analyzed materials of the work presented by us are poetic works of female Circassian lyrics (in particular, Sanyat Gutova and Muliat Emizh). The rationale for this choice is given in the Introduction, and it allows us to assume the relevance of the study. The methods involve textual comparison, analysis, commenting based on facts and personal experience.
Results and Discussion
In the new century, the entry of the lyrical stream into prose circulation gave innovation to unusual fiction novels, which were concentrated in the publications of F. Mamrukova "Zhim kylyesyre dzheuap" (= "Answer brought by the wind", 1994), Sh. Erguk-Shazzo "Buzyuzhiy" (= "Bird"), in small stories by Z. Khakunova, published in the magazine "Zekoshnyg" (= "Friendship"). As the Circassian professor Ruslan Mamiy comments on this historical period, then “Adyghe poetry, having moved away from declarativeness, a laudatory and enthusiastic style, was filled with philosophical thought, subtle all-pervading lyricism, thoughts about a person and the world around him in their indivisible totality” (Mamiy R, 2006 ). For example, the immediate rhythm of the new era with a simultaneous unique, detailed comprehension of what was happening tangibly conditioned the soulfulness of the verbal production of the 90s, including the current author Muliat Emizh (for example, in her book "Thal'e1u" ("Prayer", 1992 )). Already then a new need arose and an opportunity to pour out the truth about the history of ancestors, which had hitherto been huddled under an invariable ban. The constructive strategy that followed during the past beginning of the new century was supported by sudden zigzags of perestroika. This caused, firstly, the awareness of the theme, accompanied by the historical factor, but without neglecting the noticeable "stylish" directions. A similar focus also evolves, develops and receives mental and emotional support from the members of the word-creation process, working in the modern environment. Thus, at the stage under consideration in the female Circassian poetry, word-creators, attracting the reader's interest, have emerged, who have a clear philosophical motivation, who think, feel life, and are also able to dispose of the thought. These illuminate, control, adequately perceive the sheer volume of all kinds of aspects of being.
The direct and natural rhythmization of the century that has come with a peculiar, thorough reflection on the macrocosm has perceptibly determined, in particular, the literary texts of Muliat Emizh, and in various genres. This is both prose and poetry, and it is especially perceptible - drama. So, for example, in one of her many new millennium plays "Butterfly Wings", included in the collection "The Place of the Dog" in 2006, the tendency to highlight the regional and extraneous mentality is already noticeable from the acts of initiation. For example, highlighting his participants in the initial lines, introducing them to the viewer, M. Emizh already with their starting dialogue indicates the difference between the southern and other mentalities, and this is also the macrocosm we are looking for. Such a global current progresses and acquires an upgrade (from the English "saturation") from those who discover today's lyrical space, which carries an abundant resource. The reader can only sincerely thank the analyzed poetesses for such a macrocosm immersion in the realities of the new century. In this case, it is reasonable to quote what was said about the texts of Sanyat Gutova by the master of Circassian literary criticism, academician Kazbek Shazzo. He recreates the fire again and again the final, here passing, burnt coals: “... I know that smoke comes from the fire, there are“ hot coals ”, but they also go out sometime, covered with ash, until the last ember goes out, I look into the stove ... Of course, with the hope that there will be at least one ember left to light a fire in the stove again in the morning ”(Shazzo K, 2006). Directly, not less figuratively than that of the poetess, the master of Circassian criticism represents the flame, the warmth of her lyrical motives.
At the same time, Kazbek Shazzo and other researchers in the texts of modern Circassian poetesses trace clearly deduced actors, accompanied by mental conditioning. So, in particular, the line of the motherland, mother and home accents are clearly visible in the modern texts of the Circassian poetesses. However, domestic (Russian) poets in general, albeit fairly decently illustrating portraits, sometimes produce obligatory psychological defects, attributing personality traits to the demonic characters of interest to us, which are hardly capable of belonging to those walking the Path of Evil, from time to time somewhere even excuse them. In general, the powerful personal-value, psychological-personal thread that pierced the domestic works of the second half of the 20th century, lasted, even became firmly established in the modern Circassian artistic line. When we turn to the functioning narrator in S. Gutova, here the subject directly deviates from the Soviet ideology, exacting, strict limits in his reasoning, emotions, dreams. So, for example, the main character wanders in a field of blades of grass rushing into the sky. Dreaming of lofty mountain peaks, looking at a working companion at the root of a tree, he is in no way able to act as a labor foreman who respects the humming machine.
In a similar reciprocal contact stream, in the texts of S. Gutova, there is an indisputable, legible, sharp, clear reference to the soil. Preferring her as a partner in dialogue, the speaker, constantly calling out to her in any verse, extols her achievements. By interpreting her planetary whirling, the narrator explains his constant affection for him, and this motivates joy. The hourly productivity of the soil, which constantly generates being, is also gratifying for the patriotic narrator. This patriotic tendency is repeatedly confirmed in such poems by S. Gutova as "My Motherland", "Thank you, my aul!" For example, thanks to his own aul, the narrator discovers rather peculiar, not at all stereotyped expressive means. In this way, the speaker describes the locality close to him as "spring pleasure"; gives the aul a function that allows its heart to live and actively exude warmth; looks through in any of its territorial trifles an undoubted treasure for the word-creator: "Your fertile steppes are a delight for me, / Your fine days bring my work" (Gutova S, 2012). Indeed, as you know, any really expressive line is not a primitive pictorial presentation, documenting facts or landscapes, but a psychological, philosophical restoration of character mores, including a reflection of possible reader reactions. By lowering the recipient into the vividly working natural character of the land and sky, the poet manages to convincingly assign them the function of acting heroes, hearing the narrator. In particular, S. Gutova's land often plays the role of a mother, while the role is meaningful, carrying not just an extreme reaction, but also an equivalent acceptance. In addition, one of the central persons in "Peuble Gupshys" (= "Preliminary Thoughts") is the Kai-Kaus mountain peak, which sometimes supports, sometimes opposes the individual. This peak in its power necessarily turns out to be close to a person, joins him, and sometimes knows how to enter his destiny by his deed. Possible, very probable personality traits are present both in various vegetation and in the animal representatives living in it. At the same time, the trust of this unusual group in the individual is already set in the preface by S. Gutova. The blue vault works for the author to help a person, since the rain and snow matter erupting by him comes to the residential area, usually giving the inhabitant very useful circumstances both in everyday life and in work.
Consequently, the ethnic dubbing of the cult appeal (not always expressed, sometimes conditional) to the exciting, caring fate of the motherland, which is used by the modern poetess, happens. Meaning the characters and deeds, the pros and cons of such natural characters, the author allows the narrator to captivate the recipient with his inherent tonality. As is often seen in general in modern texts, a gloomy hero, supposedly carrying evil, is not at all a guaranteed sadist, by no means necessarily for his pleasure to use force and kill. Sometimes it happens like this: the dark hero appreciates his internal motivation more, which he considers worthy, but his personal worldview is capable of somehow repeating social ethics, but the motives can be clearly opposite. S. Gutova's character, contemplating being and watching the mountain peak, plans his travel scenario. Sometimes he is inspired by their white clarity and unshakable purity. Sometimes he gets upset watching the glowing peaks in the distance fade away. A man here is disposed to despair, being unable to consider some mountain wall, however, having sharply made out the grass shining on the slope, he is happy with its vivacity, and this contributes to his personal self-determination with future life plans. There is also a snowy energy, which is relatively involved in human genesis.
Moreover, the following fact is very obvious: in general, in the works of world literature dedicated to the dark kingdom and their representatives, there are practically no scenario nodes built on a character who consciously enters the empire of evil. The predominant choice of a dark move in his fate is not at all a natural path of personal progress for the hero. In the event that there was an option, he would definitely be the chosen one. A similar strict predestination of darkness, even a deadly choice, is inherent in the texts of Sanyat Gutova. In some of his essays, such as "Usar", "Kanshau" (= "Kanshau", "TIumyr" (= "Tum"), "Damy" (= "Damiy"), "Damyire Usarere" (= "Damiy and Usar") she sometimes manages to paint, to voice the fatal motives inherent in life philosophy, sometimes containing death. In reality, her modern essays are directly devoted to these, albeit abstract, but indispensable for the ordinary recipient of the axioms. Indeed, already in this fragment of the preface, the narrator, “stroking his hands”, pours out mighty streams on the theme “lienyge” (= “death”) (hereinafter interlinear translation – F.Kh.): “This is how death begins” – this has recently excited the man. Besides death, there is no sense in it?! Why is there such a weak person for everyone, the only one why doesn’t come from there? Or is a soft move pouring in? Thoughts expand. The world and existence to whom is bored? What happens by itself is deceived. is he being deceived?!" (Gutova S, 2012).
At the same time, the preoccupation of ardent hopelessness, which is indispensable in the women's texts of Circassian authors, enables the attentive reader to focus on the shots of life radiating close by. So it is in the final novella ("KIeuh gupshys" (= "Thought of the end")) of the collection "Osh'oguitIum azyfagu" (= "Between two heavens"). It begins with the same thing - “The darkness seized everywhere” (Gutova S, 2012), but even here, although there is despair, one can expect hope, which at that moment has subsided, but is strictly obliged to awaken. Here is the wooden material in which the dark could be buried - a strong material. In general, with the aim of literary derivation of the line of confrontation between darkness and light, which has interested a person for long eras, the fantasy genre is most actively used by many rows of lyricists, since what will happen in the end is always predetermined. Such communication gives rise to the right path for darkness: good will overcome evil, its execution is cruel. And on this axiom all subsequent contacts of the crown with Man, Soul and World are built. The speaker of the Circassian authors managed to determine for himself what is true in the world. Seeing the light, such a heroine, for example, by S. Gutova, understood the truth. Arranging a series of philosophical questions in one of the paragraphs, the poetess asks herself and the reader the structure of the forthcoming reflections: “What did the Darkness want, starting its movement in unfamiliar places? To put in order the World, to dissolve all the People living in it?" (Gutova S, 2012). The interpretation of abstraction in this case is evident in relation to the forces of darkness, since there is a certain solid stereotype of Good in its power, simultaneously with a small certainty in the literature of the image of Evil. And therefore, in the final paragraph - the sun again takes its place, lightning flashed, the mountain praised in the text with its top sufficiently covered it. The last field of vision with such a number of thoughts, seized by excitement, realized that his dream was somehow related to him.
Reality and illusion mixed between two heavens in Sanyat Gutova, as in one of those who combined creativity with a career and, thus, looked for their artistic sources in the resources of being. The approach to working with text required in today's media atmosphere, in addition to the required number of practical skills, proclaims the demand for the author's creative word-creation. Accordingly, the analyzed poetesses who often graduated in Soviet times from regional universities, while receiving pedagogical and philological specialties, theoretically mastered the word (both Russian and Circassian), which gave them the opportunity to work with the text professionally further. Such professional attribution is inherent in M. Emizh, S. Gutova. In addition, this inclination has become much more fruitful over time, gave the desired result, and since the beginning of the 80s XX century the required artistic product arises in their author's production. So, for example, in the case of S. Gutova, the All-Union State Television and Radio Company of the region agreed to a similar employee of the word already in 1986, besides for a long time (since the poetess still works in it). At the same time, the diversity of the existing job profile is very clear: both the editor of some of the functioning, thematic and news programs, and (already in the new century) - the host of the program. Or M. Emizh from 1991 to 1993. She was the editor of the state television and radio company, and also functioned as the editor of the poetry department of the republican magazine "Zekoshnyg" (= "Friendship"). Thus, the analyzed poetesses M. Emizh and S. Gutova easily had to enter the professional media atmosphere of the new time, being already tested specialists.
Conclusion
The image of darkness that interests us today within the limits of the modern macrocosm drawn by Circassian poetesses appears in the history of world literature as one of the most mysterious figures. It is actually mandatory wherever some kind of confrontation between good and evil is required to exacerbate the plot, and this is necessary in most classical works (for example, in the texts of Madach, Gogol, Pushkin, Dostoevsky, Bulwer-Lytton, Lermontov, Hawthorne, etc.). Subsequently, when the XX century actually turned out to be the era of the media and techno environment, the demonic image was also used by the majority of artists and workers of the word, who very freely and personally presented this classic image. In the first decades of the XXI century nevertheless, the template developed over the centuries about the opposition of good and evil, leading to the inevitable victory of light, has been preserved. Many studies are devoted to his activity, but only some of their copies are really reliable, since they act as an objective analytical substantiation of the dark empire and its representatives in the works. The image of the most evil darkness, saturated with evil as much as possible and not willing to change, is considered unsuccessful in research. However, we see in his author's variations the black hero's compulsion to embark on a dark path and his possible disposition to turn to the good. A similar imagery is inherent in the considered by us S. Gutova, vividly illustrating existential dominants in the need for their consolidation, in order to satisfy the constant human need for them.
As far as it has been established in the field of combining the creative pen with the career processing of the word, more often the level of creative productivity is not at all predetermined by the degree of journalistic skill of the individual. He is more actively nourished by the personality level existing in society. And therefore, it is permissible to consider one of the thoughts of Kazbek Shazzo about the Circassian poetic stream, which has the fair sex as its authors, as very generalizing in our work: this poetry is “femininely soft, responsive and meaningfully clever in relation to “adyge khabze”, restrained, which is not prevents authors from creating a spacious emotional world filled with splashes, stormy streams” (Shazzo, 2006). Let us attribute its softness and responsiveness to the analyzed authors within the framework of the chosen topic and we will be inspired by the philosophical, sweetly darkened restrained tone within the boundaries of the macrocosm they create.
References
1. Khuako, F. (2015). History and modernity of the literature of the Circassians (Circassians) in the Republic of Adygea. Italian Science Review, 10(31), 158-161.
2. Shazzo-Erguk, Sh. (2005). Spiritual and philosophical foundations of the Adyghe poetry and the originality of its artistic evolution (problems of poetics and style) (Author's abstract… doctor of philology), Maykop.
3. Mamiy, R. (2006). History of the Adyghe literature. Polygraphizdat "Adygea", Vol. 3.
4. Shazzo, K. (2006). The flame of our anxiety. Publishing house of Maykop State Technical University.
5. Gutova, S. (2012). Between two heavens. Adyghe republican branch of the book publishing house.
DOI: 10.47310/Hjel.2021.v02i03.002