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Prose creativity of Mir Jalal: actual topics, higher ideas - Dilara Adilgil

17-05-2023 [ 12:22 ] [ read:71 ]
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Nasir, publicist, scientist, theorist, pedagogue, critic, public figure... Our outstanding writer Mir Jalal Pashayev, who successfully combined so many fields and left a valuable mark in the history of literature and philological thought, is published and read with interest today, just as he was in his lifetime. creativity is involved in research.

Mir Jalal considered the 20th century to which he belonged "the beginning of a new renaissance period in Azerbaijani literature". With his works, the writer definitely played an important role in the formation of newly established Azerbaijani prose, in the birth and formation of the foreign novel genre. The modern form of the epic, the novel, as the leading genre of epic narration, required a wide range of life material. Although not a secondary genre concept, the bulk of the writer's work consists of his novels. The writer's six novels were as if divided into two parts: three works reflected the past, and three reflected the modern era.

When we think of Mir Jalal's prose, of course, the first thing that comes to mind is "Manifesto of a Young Man". An uninformed reader will not even think that the work was written by a young author. Early Mir Jalal wrote his name among the classics with this work. He was primarily a realist writer. Russian writer K. Paustovsky said that to be a real writer, it is important to "hear" and understand the environment. Simply put, to write well, a writer must have a unique sensibility, just like a musician. The works of Mir Jalal, who wrote and created in the environment of socialist realism, are completely in place with the term realism alone, even without "socialism". This is because the roots of realism draw water from ancient literature. Although, in the Soviet era, socialism was added to it, so realism was attributed to the 19th and 20th centuries.

The well-known literary critic J. Rykachev wrote about Mir Jalal: "Each word of his novel seems like a part of his autobiography, his lively and sincere excitement immediately affects the reader." Mir Jalal's works are dominated by romanticism. Poetic talent not only perfected his prose, but also beautified it. Let's turn to the "Manifesto": the epigraphs he chose from Goethe, Heine, and Leo Tolstoy for the chapters of the novel, the deep sadness that dominates the scene of Bahar's death, the chapter "The novel of tears" "influences a poetic poem written in a lyrical-pathetic spirit" (Acad. B. Nabiyev) is an example of what we say. The writer captures the mourning of the baby Bahar with words, makes the reader cry. Spring, with its tragedy, is one of the unforgettable images of our prose, it is an event that cannot be mistaken for anyone, there is no other like it... As soon as the name is mentioned, the child "who has just blossomed, perished in the forest of winter, frozen, turned to wood, with frozen hair sticking to his face" comes to mind. . Just this winter, a colleague of mine who came in on a bone-chilling day said: "In every cold weather, I curse Kabbalah Kurban with a thousand rosaries." A classic is a classic, always ahead of time, ahead of its author. Especially now, in the era when the speed of time increases more... Also, cold is not only associated with weather, but also a state of mind, which is the fate of us humanitarians.

Mir Jalal is a storyteller. Thanks to Mir Jalal, the narrative genre, which was "certified" by our classics, strengthened its place and enriched our prose. A significant part of the multifaceted creativity of the writer is the creation of stories. His stories stand out for their uniqueness, accuracy, subject variety, color, and modernity. Most importantly, the ability to say a lot with a few words is an invaluable skill for a storyteller. Rather than using a single word, he had taken the path of saying less than one sentence. Mir Jalal's success as a short storyteller was precisely in this, in the "economy" of words. M. Gorky, whose name is often mentioned in the writer's articles and addressed to his work, wrote: "There should be narrowness for words and breadth for ideas in a work of art." His stories such as "Manifesto of a Young Man" were also translated into Russian by Aziz Sharif. One of his most memorable stories, "Kamtarovlar..." is a family-household drama. You turn the pages and think how can a person feel so incomplete because of greed for wealth? "Why did I stop hunting?" His story brings tears to your eyes, and you breathe in the fragrance of blooming spikes and growing ears of corn. "The Flowering Girl" is from the "Memory Stories" series. If a flower is a sign of attention, then a large bunch already indicates respect, reverence. Like a bouquet that the author has collected for a flower girl and decorated it like patterns on a carpet. The story smells like roses. What qualities did the writer give to his hero? Feeling nature, exquisite taste, sensitive heart, dignity... How R.O. Renoir's painting "Smiling Girl" fits this story as an illustration! Since the painting was painted and acclaimed in Claude Monet's famous garden, the subject went on a "journey" around the world. The second "Smiling Girl" is Natalia Rakin, a Polish artist and designer. After our great victory, that girl visited us. The girl's picture is painted on the facade of the building where the families of martyrs live in Ismayilli district. If you are asked to find the difference in all 3 works, the answer will be as follows: the girl is our flower bearer, and the one who watered is our nightingale. This is how the works are reconciled, this is how they become friends, they live in memories and actions.

"Arab Girl" is also about women. The writer starts from Majnun Leylis. Since the name is paired with love, "wherever you go in the East, you will come across the name Leyli". The story mentions modern women's names as well as classical ones... "How the Algerian hero Jamila surprised and horrified the French imperialists", Ayesha from Cairo, a doctor of the history of Arabic literature, "teaches how to treat the artistic word as a bullet". It describes the arduous path of the Eastern woman from Leyli to Ayesha.

"I want to think" makes you think. This is a "point" story, and it makes many points clear. Afzal Balajayev, who wrote an essay in the entrance exam on the theme "Beauty is ten, frost is nine", likes the modern approach to proverbs and his bold analysis. The fear of Stalin, the fear of repression heard from the work dissipates like fog at the end of the story. The sad news of the leader makes him forget this incident. "Questionnaire Anketov", reminiscent of the "man with a case", was written and published in 1937, when Stalinism was raging. The story has strong sarcasm, open sarcasm, which for that time meant "the lion ate the heart". The pollsters were at every step in 37, "they could blackmail and neutralize anyone who showed a little free will on the basis of poll data." If the statistics did not show such a fantastically grim figure, these claims might seem ridiculous (and they do today). How does a young man who writes an essay on a free topic make "claims contrary to Soviet science" and "plays the air of cosmopolitans" when he expresses his opinion? When did the child who left the desk yesterday manage to be cosmopolitan? Why is the head of the Baths examining the people's questionnaires? What can be called the isolation of a farrier from public life for shoeing Hampa's animal? To boldly bring up such issues in the environment of "thirty-seven" and thus to reveal a citizen's position was almost equivalent to knocking on the door that was always open with one's fist. However, Mir Jalal was also a real writer in this respect: a real writer is always the one who catches the lightning, not the ones we lost during his lifetime...

 

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