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28УДК 82(574/470) ГРНТИ 17.82.09
Г. С. Умарова, Н. Т. Утарова
Казахстанская Пушкиниана («свое» по поводу «чужого»)
Статья посвящена вопросам изучения творческого наследия А. С. Пушкина современными казахстанскими исследователями. Вводятся сведения о феноменальном примере духовного родства двух выдающихся личностей, создателей литературных языков, основоположников реализма: в русской литературе - А. Пушкина и в казахской литературе - А. Кунанбаева. Освещается историческое событие пребывания русского поэта в Уральске и сохранение памяти о нем через создание музея, наименование вуза, открытие памятника, сквера; Пушкинского дома с читальней и залом, реконструированного в русский драматический театр; современной гостиницы, носящей имя русского поэта. Статья также содержит информацию о рецепции наследия русского поэта на казахский язык; о результатах исследований по возникновению, развитию замысла и созданию «Капитанской дочки»; гипотезу о Пушкине в качестве «основоположника собирания фольклора о пугачевщине»; о влиянии Пушкина на творчество татарского поэта Г. Тукая; о переводах его произведений на немецкий язык.
Ключевые слова: А. С. Пушкин, эволюция, реализм, онегинская строфа, пушкиниана, ономастика и рецепция.
GuVnara Umarova, NurguV Utarova
Pushkiniana of Kazakhstan ("Own" about "Another's")
The article is devoted to the study of the creative heritage of Alexander Pushkin by modern Kazakhstani researchers. Information is introduced about the phenomenal example of the spiritual kinship of two outstanding personalities, the creators of literary languages, the founder of realism in Russian - A. Pushkin and in Kazakh literature - A. Kunanbayev. The historical event of the Russian poet's stay in Uralsk is covered and the memory of him preserved through the creation of a museum, the name of the university, the opening of a monument, the square; Pushkin House with a reading room and a hall, reconstructed in the Russian Drama Theater; A modern hotel bearing the name of a Russian poet. The article also contains information on the reception of the heritage of the Russian poet in the Kazakh language; on the results of research on the origin, development of the idea and the creation of the "Captain's Daughter"; the hypothesis of Pushkin as "the founder of the collection of folklore about Puga-chev"; on the influence on the work of the Tatar poet G. Tukay Pushkin; translation of his works into German.
© Умарова Г. С., Утарова Н. Т., 2018 © Umarova G., Utarova N., 2018
Key words: A. S. Pushkin evolution, realism, Onegin stanza, Pushkiniana, onomastics and reception.
«We have everything from Pushkin», said F. M. Dostoevsky. Indeed, it is precisely from Pushkin that everything goes in Russian literature. He and the creator of the Russian literary language, and the founder of realism, and the first true artist, the first not only in time, but also in the level of talent in Russia. And the same first poet can be called the great Kazakh poet, the founder of Kazakh literature Abai Kunanbayev.
Abai saw in Pushkin the largest and brightest creative personality, about which the rumor passed all over Russia great. Unfortunately, the Kazakh classic nowhere - neither in letters nor in the «Book of Words» spoke about his teachers and like-minded people, but we learn about them from the numerous works of M. Auezov [3; 13]. Pushkin and Abai are a phenomenal example of the spiritual kinship of two outstanding personalities. The unique harmony of their poetry, expressing the integrity of the world and man, is a brilliant confirmation of this. The invisible threads that linked the geniuses of Russian and world literature and the Great Steppe are strong.
2006 was declared the year of Alexander Pushkin in Kazakhstan and the year of Abai Kunanbayev in Russia. It is no coincidence that just this year in the Ataman house, where the poet stopped, the Pushkin Museum was opened in Uralsk in the West Kazakhstan region, the first visitors to which were the presidents of Russia and Kazakhstan: V. V. Putin and N. A. Nazarbayev. Despite the fact that the poet stayed in our city a little, much is connected with his name, memorable places he visited. For example, on the site of the Peter and Paul Church, where Emelyan Pugachev and Ustinya Kuznetsova were married, now stands the monument to Pushkin, established in 1993, and the square bearing the name of the poet.
In 1937 the Ural Pedagogical Institute was given the name of A. S. Pushkin, whose bust is installed in the courtyard of the educational institution, now the M. Utemisov WKSU. In 2006, the university hosted the scientific and practical conference «А. С. Пушкин в культурном пространстве Запада и Востока»/ «Alexander Pushkin in the cultural space of the West and the East» (2006). Not far from the university in the old reconstructed building is the hotel «Push-kin». In the spring of 1899, in honor of the centenary of the birth of the great poet in Uralsk, Pushkin's house was opened with a reading room and a hall. In 1940 the building was reconstructed and now it houses the Russian Drama Theater named after A. N. Ostrovsky.
The great Kazakh poet-educator Abai Kunanbayev, who did so much to unite Russian and Kazakh culture, translated more than fifty Pushkin's poetic creations, including excerpts from Eugene Onegin. He did not publish them, but shifted these lines to music. They sound touchingly and poetically under the unhurried accompaniment of the Kazakh dombra. The whole steppe began to sing «The Letter of Tatiana» and other Pushkin lines, after which Pushkin's poems became part of the culture of the Kazakh people. In the novel-epic «Put' Abaja» by M. Auezov there are lines about how Abai discovered Pushkin: «He moved Pushkin's volume to himself, he was now reading Pushkin verses not with the eyes of the reader, but with his whole heart of the poet». He closed the book, Abai said aloud: «... now my Kaaba is forging, and the West becomes the East, and the East became the West for me ... And so be it!» [4].
Among the Kazakh Pushkinians, the translation work of the poet Ilyas Zhansugurov (1894-1938), repressed in the 1930s, takes a special place. Zhansugurov does a lot to popularize Russian classical literature among Kazakh readers. He translates the works of Pushkin, Lermontov, Krylov, Mayakovsky. G. Belger in his article writes that Zhansugurov translates completely «Евгений Онегин» / «Eugene Onegin», having managed to preserve in all poetic power the famous «Onegin stanza».
Kazakhstan Pushkin is a special page in the history of Russian literature. At the origins of the Pushkin theme in Kazakhstan - Abay, Chokan Valikhanov, Shakarim, Ahmet Baytursynov, Mukhtar Auezov, Saken Seifullin, Ilyas Dzhansugurov and many outstanding figures of Kazakh culture.
Modern Kazakhstan Pushkin is diverse, diverse and heterogeneous. It is important to emphasize that scientists of the West Kazakhstan region are engaged in studies of Pushkin's creativity and life. Among the scientific works on the Pushkinian scientists of the Ural Pedagogical Institute. Pushkin (now West Kazakhstan State University named after M. Utemisov), in our opinion, the monograph of associate professor N. I. Fokin «K istorii sozdanija «Kapitanskoj dochki» A. S. Pushkina (1957). In it, the author outlined the results of his research on the origin, development of the idea and the creation of the work itself. In the introductory part of the monograph, the reason for Pushkin's treatment of the theme of popular life, the interest of the Russian writer in the events of the Pugachev uprising is explained; the creation of Pushkin's theory of the historical novel. Critically evaluating the works about the uprising, the poet came to a conclusion, - the author of the monograph stresses,- that none of them gives a correct idea of the real causes, the development of events, does not draw the true image of the leader of the uprising. Such a negative attitude towards Pugachev's
personality came from Catherine II. The author comes to the conclusion that the range of materials that was in Pushkin's hands did not cover all the information and it is surprising that without having many documents, not seeing some evidence, the poet was able to draw a complete picture of the course of the uprising and to find out the reasons for it so, as no one before him did.
In the monograph it is told about three variants of plans for creating the novel «Капитанская дочка» / «The Captain's Daughter». In them the poet collected information about officers from the nobility Shvanvich, then about a certain Basharin, after him - about Valuev, who, it seems, went over to Pugachev's side and fought under his leadership.
Then in subsequent notes the motive disappears, which formed the basis of all previous plans - the transfer of an officer-nobleman to the side of the insurgents. According to Fokine, Pushkin was interested in the issues of the relationship between the nobility and the people. In the scientific study, Fokine concludes that the lengthy work on the novel was distinguished by the peculiarity that was inherent only to Pushkin. The author of the monograph emphasizes that the key to creating a realistic image of Pugachev, a living person, was the study of the opinion of the people, living witnesses [10]. In the book «Russkie pisateli v Kazahstane. Stranicy tvorcheskih biografij Associate Professor N. E. Evstratov reflects the pages of creative biographies of writers who visited Uralsk, including the journey of A. S. Pushkin to the Urals. As the author points out, «creatively this was one of the most fruitful and productive trips of Pushkin: it was closely connected with great creative ideas - «История Пугачева» / «The History of Pugachev» and the historical novel «Капитанская дочка»/ «The Captain's Daughter».
The poet stayed in Uralsk for no more than two days, but this time he used it productively: he saw, learned and felt a lot, recorded everything, but in addition to the stories and stories of eyewitnesses, he also studied documents and archival data. The poet also paid much attention to the prehistory of the Pugachev uprising, which, in his opinion, could be useful for clarifying the reasons for the uprising. In the opinion of N. G. Evstratov, «folklore researchers about Puga-chev rightly called "Pushkin" the founder of the collection of folklore about the Pugachev». Pugachev did not idealize Pushkin, but he made a lot of poetry, discovered in it the poetic principle and beauty of the freedom-loving national character. In conclusion, the author of the article reveals the importance of «that indefinite internal work of creative thought and imagination, which received new incentives and new content here ...» [7, p. 154].
In the book «Poehal ja v Ural'sk...» (2006), a researcher, member of the Writers' Union of Russia N. M. Shcherbanov, while studying the question of Pushkin's stay in our region, relies on archival documents, letters, memoirs, essays and travel notes. The author believes that many valuable information about the Cossacks could be communicated to the poet by G. S. Karelin and V. Dahl. Talking about V. Dale, or rather about the fact of a joint trip with the poet, the author relies on the work of the researcher of his life and creativity Yu.P. Fesen-ko, however, subsequently recognizes that it is untenable, because neither Dahl nor Pushkin in their letters found a hint of a joint stay in Uralsk. His work N. M. Shcherbanov argues that work on the Pugachev theme brought something completely new into the creative manner of the poet. He is no longer limited to printed materials, as was the case with the writing of Boris Godunov.
Communication with the Urals allowed Pushkin to see the character of Pu-gachev the rebel much more fully and reliably. N. M. Shcherbanov also talks about the ataman Pokatilov, in whose house Pushkin stopped, mentions all eyewitnesses of the Pugachev region, whose stories the poet used in his work on the «История Пугачева» / «History of Pugachev». It is also noted that «the dramatic events associated with the siege of Pugachev Yaitskaya fortress and in general with his stay in the Yaitsk town, took place in the oldest part of the city adjacent to the Michael-Archangel Cathedral, the so-called Kurenyah». The author also tells us that Uralsk enriched Pushkin with oriental materials, in particular the fairy tale about Kozy-Korpesh and Bayan-Sulu, which, according to the researchers, was written for him by Makhambet Utemisov. As N. M. Shcherbanov, «Pushkin is permanently registered in Uralsk», here every year they organize events in his honor. Many, many Ural pages of Pushkin's biography and creativity have not yet been read. This is the task of the present and the future, -sums up the author [12, p. 161]. The creative heritage of Pushkin played a big role in terms of comparativistics.
Professor R. A. Abuzyarov in his article «Gabdulla Tukaj v sozvezdii Pushkina» (2006), compares the work of two poets and points out that Tukay formed his individual poetry thanks to Alexander Sergeevich Pushkin. In support of his thoughts, the professor quotes the statements of M. Lukonin and L. G. Sayakhova, agreeing with them that the Tatar poet is in the constellation of Pushkin, where Tukay is a «Eurasian poet, with all his life and creativity uniting the Turkic peoples throughout the Eurasian space, and at the same time integrating the traditions of the East and the West in their creative work, looking for ways to understand Russian literature and culture, and through it - and the West».
In Uralsk, much links these two great poets. Recall that the childhood and youth of Tukay passed in Uralsk (1895-1907). But «the most important thing is the huge role played by Pushkin in the formation of Tukay as a great Eurasian poet. Then in Tatar poetry it was customary to saturate poetry with high Arabic, Persian, Turkish words. And the first poems of Tukay were difficult to understand without translation. For the simplicity of the language of other poems, for «peasant speech», Tukay was criticized thoroughly. But Pushkin helped Tukay get out of the narrow framework of national poetry», - R.A. Abuzyarov emphasizes [1, p. 191].
Mention of the poet's stay in the west of Kazakhstan is also found in the work of «V. I. Dahl in West Kazakhstan» (2007) associate Professors A. N. Yevstratov and O. V. Oprea, who claim that Pushkin was the first mentor of Dahl, invariably encouraged all his undertakings. The authors also touch upon the question of Dahl's stay in Uralsk together with Pushkin, they consider the points of view of the researchers D. I . Sokolov, N. Modestov, Yu. P. Fesenko, and others, and are inclined to the idea that Dahl was the constant companion of Pushkin in our region.
Dahl and Pushkin are contemporary writers, subjects of study in art coincide. This issue of the dialogue of writers is considered by the researcher G. S. Umarova, stressing that they were interested in folk art, folk life. Dahl witnessed an important stage in Pushkin's creative work: the acquisition of live impressions, the same method he adopts to collect material for his future Kazakh tales. «Pugachevsky motiv», as a manifestation of indignation, a protest of the people, which generates a chain of evil and violence, which sounded in the story Pushkin's «Капитанская дочка» / «Captain's Daughter», is felt in the story of Dahl's «Bikey and Mauliana». The creative relationship between Pushkin and Dahl, whatever the topic may be, testify to the desire of both to solve the issues that set the time for the generation [9].
Much attention is paid to Pushkin's researches in Kazakhstan by the chief researcher of the M. O. Auezov named Institute of Literature and Art, Associate Professor S. Ananieva, who in the article «Avtor v strukture sovremennoj ka-zahstanskoj pushkiniany» (2010) emphasizes that Kazakhstan's Pushkinian has its own niche in the history of world culture. When considering the problem of the author's personality in world literary criticism, she pays much attention to the diary entries of the Pushkinists. Such as the scientific research recalled by her and published in Czechoslovakia in 1965 «When the portraits speak» and «The Portraits Talk» by N. A. Raevsky.
The author of the article also cites the milestones of N. A. Raevsky's biography related to the Pushkin studies of N. A. Raevsky. He began to get interested in Alexander Pushkin from 1928, and certainly knew about his stay in Kazakhstan, in Uralsk. During the Second World War, the fate of N. A. Raevsky was difficult: the arrest and liquidation of all records of A. S. Pushkin, a lot of tangled Pushkin and the near-Pushkin threads. The books left by N.A. Raevsky became a notable contribution to Pushkin.
S. Ananieva also touches on S.Abdrakhmanov's research «... I went to Uralsk», written on the diaries and memoirs of Mikhail Kuzin's novella «Hello, Pushkin» about the poet's stay in Uralsk, the story of K. Gayvoronsky «Between Scylla and Charybdis» about Pushkin's relationship with the Decembrists and Nicholas I: «The Kazakh author offers a new reading of the long-known, basing his point of view, somewhat different from the generally accepted and prevalent views, on documents, letters, diaries, testimonies of contemporaries»; published in 2006, «Pushkin's notebook» K. Keshin, which combines four essays available for a wide readership audience [2].
Of interest is the article by Ph.D., senior researcher at the Department of Russian and Foreign Literature of the Pavlodar State Pedagogical Institute O. A. Iost «Duhovnoe nasledie A. S. Pushkina: k voprosu sovremennogo osvoenija», in which the author draws attention to the question of «the preservation of mankind as a totality of peoples» and the role in this spiritual heritage, primarily Pushkin, who is herself Russia, and «his heritage is an inspired science of comprehending the truth».
The emphasis is on the «Russian idea», the spiritual awareness of the love passion in the work of Alexander Pushkin, whose basis is the Orthodox concept of peace and man («man on rendez-vous» in «southern» poems, «Цыгане» / «Gypsies», «Полтава» / «Poltava», «Евгений Онегин» / «Eugene Onegin», etc.). In conclusion, the author emphasizes the importance of Pushkin not only in literature, it goes to the worldview level. In the opinion of O. A. Iost, the role of Pushkin is apostolic: he was called upon to set an example of his own spiritual ascent, and Pushkin fulfilled this purpose [8, p. 268].
Kazakhstan Pushkin includes also studies of a linguistic nature, in particular, onomastics. In the article «Onomasticheskoe prostranstvo: Pushkin i Ural'sk» (2006), the toponymic units mentioned by Pushkin in works or connected with his visit to the city were considered in the synchronic and diachronic section by Associate Professor G. A. Donskova. «Onomastic points of contact»: Ataman's house, Peter and Paul Church, Old Cathedral, streets, boulevards, etc., as well as their history, rare urbanonyms, memorial objects. The research is based, first of all, on the letters of A. S. Pushkin and the text of «История Пу-
гачева» / «The History of Pugachev». As the author of the article points out, the study of onomastic space is seen by us as a necessary component of the study of the cultural and historical environment of the city [5, p. 55].
Pushkin's reception in Kazakhstan has a vivid history, the interest and love of Kazakh readers to the work of the genius of Russian literature does not run out to this day. Pushkin is in demand at all times, but every translator has his own perception of the poet, every reader has his own understanding of his work.
Remarkable examples of translating poetic works of Alexander Pushkin into Kazakh are the translations of Fariza Ongarsynova (1939-2014) poems «Пророк»/ «The Prophet» («Paikampar»), «Поэту» / «Poet» («Akynga»), «К ***» / «To ***», «Я помню чудное мгновенье» / «I remember a wonderful moment» («Gazhaiyp sol sat ali este»), «В Сибирь» / «To Siberia» («Sibirge hut»), «Ворон к ворону летит» / «Raven to the crow», «Няне» / «Nyane» («Kutushima»), «Узник» / «Prisoner» ( «Tutkyn»), «Я Вас любил» / «I loved you», etc.
Researchers do not bypass the question of Pushkin's interaction with European classics and translations of the poet's creative heritage abroad. So, the senior teacher of the German language M. Utemisov named WKSU K. M. Shunaybekova in the article «A. S. Pushkin i "Faust" Gete» [11] reveals the philosophical point of view of the poet in relation to the work of Goethe and emphasizes the commonality in the artistic comprehension of the world. It was thanks to Pushkin that the first (1838) Russian translation of «Faust» by E. Guber was restored, but the most famous translation of Goethe's work was the translation of Boris Pasternak. The author of the article compares Goethe's Faust and Faust's Plan for Pushkin, and ends with the statement of the first Russian poet about how deeply Faust penetrated into our consciousness and how it affects creativity.
Doctor V. S. Zubkov in the article «Pushkin glazami nemcev» [6] suggests that the understanding and assessment of Pushkin's creativity is inextricably linked with the assertion of his name in European literature in general. It is a question of the well-known translators of Pushkin's works, the names of Anton Dietrich, Faringagen von Enze and Friedrich Bodenshtedt stand out, and the conclusion is that Pushkin was translated and written about in Germany by people familiar with the poet or who lived in Russia for some time.
In the matter of the examination of Pushkin's personality and creativity, one can not but agree with the opinion of Yu. Lothman that the goal of poetry is not, of course, «receptions»,but knowledge of the world and communication between people, self-knowledge, self-construction of the human person in the process of cognition ... poetic text - a powerful and deeply dialectical mechanism of
searching for truth, interpretation of the surrounding world and orientation in it. Perception of A. S. Pushkin in Kazakhstan continues to be studied from various points of view by Pushkin researchers. These issues are also of increasing interest to young scientists who, we hope, will make their significant contribution to the further development of Kazakhstan's Pushkin.
Список литературы
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References
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