The system of images and the image of the poet in the poems of M. Akhmedov

The system of images and the image of the poet in the poems of M. Akhmedov

The image, filling the space of the artistic text, becomes a consequence of the verbal reflection of reality.  When considering any literary text, the connection of one artistic image with others is of particular importance, their interaction and mutual influence play a key role in the analysis of the artistic content of the work. The development of an imaginative system gives integrity and organicity to an artistic text, especially of such a large-scale genre as a poem. "The artistic image," according to M. B. Khrapchenko, "is one of the most important properties, the inner principles of art, the principles of active, dynamic" ^{[9, p. 10]}. Hence, it is important to understand the essence of the main artistic image, its structure, dynamics and its connections with the figurative system of the work, designed to reveal a particular ideological and aesthetic problem in the work. "The horizons of the artistic image and the scope of its action are the modern life of humanity in all its boundless diversity, this is history with its conquests and dramas, this is the future society into which the human eye penetrates, this is the world of violent resistance to the new, and the ardent desire of people to transform the order and themselves, the construction of social justice building" ^{[5, p.92]}. This is approximately how one can characterize the artistic image in the poems of M. Akhmedov, paying attention to its horizons and the depth of the problem raised by the author in the work.

The artistic image of M. Akhmedov, as in other things, and the whole system of images in his poems is often created through the description of certain character features of the characters. In the structure of his images, the author includes psychological portraits of the characters, their words, actions, fragments from the biography, characteristics of the inner world of the characters, their habits and manners, which often determine the representation of the integral fate of a particular hero. The author also pays considerable attention to the presentation of the material accumulated in his artistic consciousness about the system of images or about one artistic image, on which all other images in the work depend. For example, in the poem "Imam and Poet" ("Imamgi shag1irgi"), it is important for M. Akhmedov to give his hero a courageous look, to present his portrait bright through the colors of talent, honor, beauty, honesty, striving for truth, in the end, all this determines his immortality. In this case, it is the image of M. Y. Lermontov, whose spiritual appearance is revealed to the imam through one of the poems of the Russian poet. Listening with delight to the poet's work translated into Avar, the imam asks his translator about the fate of the Russian poet, to which he is answered that the poet who once fought against him has been killed. The imam plunges into sadness, thereby expressing his protest against this kind of attitude to talent, to the truth. The imam considers the poet's murder a deep mistake of the Russian people.

Schib cIar lyeleb lalarin

Gyadinab millatalda,

Millionalha hirschun

Milliyab Chiuhii Chivaleb ^{[2, p.769]}.

What name should I give

To this (Russian) people,

Out of millions of faces

The pride of the people has been killed!!

 Here the author directly connects the image of the imam with all the small and large artistic elements that reveal the composition of the poem.  They form a certain system through which the author, speaking about historical events, reveals the image of the imam. The imam and the poet are two historical figures. They are depicted in the poem according to the author's interpretation, which here, according to the author, coincides with the historical truth. Hence the author's assessment is high, worthy of his hero.

As you know, in the system of artistic images of any work there are collective images, which, first of all, are divided into two groups: positive and negative. Both in the first and in the second case, the artistic image is "the image of a person with pronounced individual features, outlined with great completeness and certainty" ^{[6, p.171]}. The image of the poet is often presented as such, as a positive image, in such poems by M. Akhmedov as "Ali-haji from Inho or the ballad of time", "Two Poets", "Chanka and Mahmud", "Imam and Poet", "Poet and Woman", "Poet and Motherland", "Poet and People", "The Poet and the Rulers". The image of the poet M. Akhmedov is almost always associated with the image of a righteous man, on whose lips and deeds there is always truth, honesty, sincerity, which is actually the spiritual and moral idea that is carried out through the poem by the author.

In the poems of M. Akhmedov, there are almost always no images of artistic fiction, but the aesthetic category of "beautiful", "correct" are certain elements of visual and expressive resources, various techniques of language play that contribute to the decoration of speech, giving it aesthetics, expressiveness, emotionality. All this eventually creates a holistic picture of the poet's image with pronounced individual features, opposed to the images of "rulers", "people" and sharply opposing the vices of social and social strata.

Step IIR

RagIi bugo kyuru, kyurise gyechieb,

Nuzhetsa gIin kyurun gIadamal Chichiedal.

Nujer xxvelazul hvel bugo halkal,

Halkaldasa tIurab dir Vatianal.

Tiadchagii

Vatianalul Ciaral Matsialda khvarab

GiocIo dui kyogilize kyural rugo nij.

Lower side of the Book of the Vatican,

BatIa tIezabila gyeldasa dur kechi. ^{[2, pp.794-795]}

Poet

My word is a rock, it will not move,

You have conquered people with fear by pulling their ears,

The death of my people will be hidden in your games,

And the death of my homeland, cut off from the people.

Rulers

The name of the motherland is like honey on your tongue,

It will become bitter, that's what we are for.

The motherland will be what we want,

We'll tear your song away from her.

So the images of the poet and the rulers are considered in a system of images expressing the author's thought about the world, about the motherland, about life, about good and evil, in this case specifically, about the poet's struggle against evil and violence in society. This idea can be compared with the real reality of the socio-political system of any society, any historical period, where you can always meet both unjust rulers and corrupt officials. At the same time, such a statement cannot be disclosed, much less interpreted, without taking into account that this idea reflects the mystery of artistic fiction, in which an artistic image is born. In this case, the author creates a system of images in which the author's thought is embedded, the idea of how the author sees the world, how he feels about it, what he considers important, beautiful, beautiful, in this case it is important for the poet to "listen to the poet's voice." In this regard, the poet acts as a generalizing artistic image of a person, a poet, a righteous man, a humanist who deeply cares for his people and for his homeland, the poet's speech is the result, way or form of life of the artistic consciousness of the author. This is how the perception of images is formed in the reader's mind, which exist in order to create exactly that imaginative system through which the author presents the structure of subjectively colored and associatively related characteristics of a person and the realities of the surrounding world, combined within the framework of his literary text.

Step I and P

GIadamal ratana, gIadan Vatichio,

GIadada ana dir gIumrudul kyoyal.

Koabileb vekal bekarab betIer,

Kjolo tsoabilel buhuleb bugo

G1adamal

Dur shagirl'ialul shagidl'i bugishch?

Shai shagidlularev below Giolo?

Gialamal Rikiinchio Chiagoyav Shagiir,

Chivarav yagi khvarav hiralula gyev. .^{[2, p.785]}

Poet

I found people, but there is no person,

The days of my life have passed in vain.

My head that broke the twentieth century,

The twenty-first beats.

People

          Do you, poet, have a desire to die?

Will you accept death, poet, for the sake of us humans?

People do not tend to honor a living poet,

People cherish him if he is killed or already dead.

When considering a separate image or image system as an integral education, the degree of imagery and artistry depends on the degree of the author's mastery of the resources of the native language. Here M. Akhmedov's speech skills are based on his fairly well-established experience and knowledge of his native language and folk art. "The word is the material of literature, the primary element of any work of art, the directly perceived side of it. The writer takes it from the arsenal of the national language and grinds it in accordance with his ideological and artistic plans and goals" ^{[7, p.113]}, S. M. Khaibullaev states. At the same time, the words of any work of art, especially a poetic work, not only carry a certain semantic load and perform a certain ideological and artistic function, but also have appropriate language levels: phonetic, lexical, morphological, syntactic, etc. This helps to strengthen the speech-acting function of the image. Visual and expressive resources (tropes, periphrases, ironies, allegories, sarcasm, grotesque, stylistic figures, rhetorical units, etc.) are also of particular importance, which are used to decorate artistic speech.

Step I and P

Moon Shagiirzabase gula yikIana,

Gali bakhanshchinab mekhal Rechichiuley,

Moon Shagiirzabase dugIa yikIana,

RagIi Bachianshchinab mehal Tsialuley.

Dutsa shaGirasul gunaralul Tsiva

Gyinal Rakial kuna karanl cIunise,

Dutsa Shagiirasul Giumruyal 'ul nur,

Kjeral Lugiizarun, Chiegier belana.

Woman

Bihyinchiliyalul va chiliyalul

Chilaidul kun diza durg 'arab bugo,

Gyarimlidul gyargyar cherkhaldagi ban,

Charan gIadal Chagii riinaruna.

Rii hasalide sverizabuna,

Sur pulel nuhazda Tiugdul Rechiana,

Rokul tIahyal cIale, dir cIar Giechioni,

CIar hehgo Kiochona shaGirzabazul. .^{[2, p.771]}

Poet

You were a bullet for poets,

They were shot at every step,

You were a plea for poets,

Woven from their every word.

The star of his poet's talent,

I kept it in my heart, I kept it in my chest,

You are the rainbow of the poet's life,

I painted it black.

Woman

Courage and humanity thread

I was spinning with my spindle,

From a miserable chill in the body

People relaxed like steel.

I turned summer into winter,

Flowers wilted on the roads,

Read the books of love, without my name,

Understand, the names of poets will not be preserved.

Analyzing this fragment from the text of M. Akhmedov's poem "The Poet and the Woman", it is possible to focus on the features of imagery and artistry present in it, the linguistic means of their expression, which differ in a rather complex philosophical nature. It is also possible to set a goal to characterize the integral artistic image of the poet or the generalizing image of a woman, the surrounding world as a whole. These two different, although in many ways similar research tasks will help to understand the system of images in the work, in which each element is connected with others by a single ideological and artistic concept. Thinking about the image of a woman, a paradigm of valuable memories is born in the poet's mind, they are associated with images of wildlife, verbal, objective and other images that are associated in the poet's mind with the role of a woman in the poet's fate, they are closely related to the poet's feelings and his attitude to a woman. It is also the result of poetic generalizations, in which the author's imagination is present and, to some extent, fiction or artistic fantasy. As you know, "fantasy is a combinatorial ability. With its help, the poet creates not only an image from a variety of impressions, but also those circumstances in which the essence of the character can be most fully revealed, defining his qualities" ^{[4, p.114]}.

In the poems about poetry and the poet by M. Akhmedov, the image of the poet is presented as one of the components of the image system.  Each element of this system is a relatively independent, unique particle of the whole, which, interacting with it and the rest of its particles, creates a thoughtful analytical study, an unstoppable flight into the spiritual world of the poet and combines all this with the exhausting work of the poet-author.  The image of the poet in them is represented by a special form of possible theoretical development of the world of poetry and the poet by the reader.  In the poem "Ali-Haji from Inho or the ballad of time" ("Inhosa Gialihiazhiyav yaluni zamanayalul ballad"), the author's verbal and figurative thinking is presented as a synthesis of aesthetic, philosophical understanding of the poet's life and death, the subject-sensory design of his image. The reproduction of the poet's image in the material of the poem has a specific character, but it does not have a clear sequence, a certain sequence, if you try to discover the structure of his plot. "In the artistic imagination of M. Akhmedov, the image of Ali-haji, symbolizing the image of the poet, is also associated with the image of a lamp, which convinces the poet that man was created to fight against cruelty, darkness and evil. In the world, a person sheds a lot of blood and a lot of tears, he is not strong, he is very weak, because darkness and injustice reign around. But this is the whole point of the tireless struggle of man, as the poet sees the image of Ali-haji" ^{[3, p.454]}.

Dun insan watani schayze kIolareb

Shchushchase gyabize betSilidul khanl 'i,

L'itza die kumek giabize bugeb?

Gyab duniyalalda Tsohio vugo dun…

Tsokhio vukIanigi dun insan vugo. ^{[2, pp. 363-364]}.

If I am a person, then why can't I destroy

The kingdom of darkness. Who will help me?

I am alone in this world…

Even though I'm the only one

I am a man!

As can be seen, in the center of the author's artistic thought is the image of the poet, around which the answers to many philosophical questions concerning the poet's vocation and poetry are built. Here is what the researcher of Avar literature S. M. Khaibullaev writes about it: "The poem is an example of the diversity of the content of an artistic image. The main role in it is played by the lyrical "I" of the author, through the prism of which events and persons, facts and phenomena are perceived, the image of the poet is meaningful, around which other symbols are grouped: the voice of reason, the voice of eternity, the voice of time, the image of a lamp. All of them are personified and actively interfere in life" ^{[8, pp.32-33]}.

The diverse content of the poet's artistic image in M. Akhmedov's poem "Chanka and Mahmud" ("CHank1agi MahImudgi") includes images-symbols – "river bank", "pandur strings", "Kaaba star" and others.  This symbolism was created in order to strengthen the realities of the reality that determined the tragic fate of two talented poets many years ago. Chanka dies after making a Hajj pilgrimage on the way home, Mahmud is killed by Magdilav's bullet. However, the song remained forever. Today, the narrator of the poem, the poet, alone with his thoughts about the poet, is trying to understand the fate of the poet, to restore the picture and the meaning of the tragedy, love helps him.

CIankIa heIzhalul nuhda

Diy kumekalye vugo,

Makhimudgi rokul shchobda,

Schub gIadin vacIcIad vugo. ^{[2, p. 752]}.

Changka on the way of Hajj

It helps me,

And Mahmoud is on top of love

He is as pure as dew.

In M. Akhmedov's poem "The Poet and the Motherland" ("ShaGirgi VatIangi"), dedicated to the same problem as in the other aforementioned poems – the problem of the poet and poetry, the poet and the person, the poet and society, the author tries to take a larger range into his creative lens. Here we are talking about the fate of the Motherland, connected with the soul of the poet. The narrator is a poet, and here he also serves as an intermediary between the poet and the reader. The image of the poet is presented here as a universal humanistic, general ethical category, which should be fixed in the consciousness and thinking of peoples as a phenomenon of an unusually multifaceted, complex capacity.  In reality, the poet is the bearer of a difficult fate, which he consciously chooses himself, burdening himself with deep feelings for his Homeland and his people.

Dun grumble gyawula

Tarikhalul khabaral,

Habalazul bakI Gyechiin

ReqUiel Vatican Gyechieze.

Dun gIodize tIamula

GIadamazda Gurhiyal, -

BuhIi-Ciora Gyechietsa

Tsadakhgo bichila halk. ^{[2, p. 780]}.

Woke me up

Stories story

That there is no place in the cemetery for those,

Who has no Homeland in their hearts.

Makes me cry

Pity for the people, -

After all, who does not have warmth in their chest

He can sell his people.

In a state of inspiration, in a similar intuitive sense of measure, truth, a creative process unfolds, in which many techniques of organizing the work are successfully used. In this case, the author's emotional appeal to Dagestan is one of the components of these techniques, which alternate in the poem one after another, determines the scale of the poem's idea.

Dagestan, dur cIumazda

MagIarul betIer bugo,

BetIer Gyechiel butIruzda

TIun rekhkhize kIolareb.

Zhindirgo halk cIunicIes

CIunularo tsoigi halk,

Zhindirgo cIar cIunicIes

CIunularo tsoigi cIar! ^{[2, p. 784]}.

Dagestan, your eagles

Mountain heads have,

Rulers without heads

They won't be able to tear them off.

The one who will not protect his people

Will not stand up for other people either,

The one who failed to protect his name,

Will not save the name of another!

 Appeal, narration, description, lyrical digression, internal monologue – all this gives the figurative system of the poem a multi-valued, multifaceted character. "The problems of feeling and thought, rational and emotional, form and content in the artistic word become the subject of the poet's thoughts" ^{[11, p. 267]}.  For M. Akhmedov, it is important to embrace the image of the poet as an object of poetic research through the character of the poet, for whom it is always important to talk about the truth, warn about danger, instruct on the right path, as the poet himself puts it: "You can't scare a poet by depriving him of life, it is much more terrible for him to be deprived of the word" ^{[1, pp. 446-447]}.

After analyzing the poems of M. Akhmedov, we came to the conclusion that the figurative system in his poems outlines the poet's tireless desire to know and understand a person, leading to a struggle for a person. Here, in its humanistic spirit, it fully reveals the conviction of V. M. Shukshin, who claims that "the good in a person never perishes to the end, the time never comes when it is necessary to stop the struggle for a person – there is always something else possible - and, therefore, it is necessary! – to do" ^{[10, p. 324]}.  Approximately in this perspective, one can imagine the comprehension of the character of the poet's image in the poems of M. Akhmedov, his psychology, the desire to be useful to man and society. The place and role of the poet and poetic work in society, the mechanisms of its impact on generations and its immortality is one of the most complex, attractive problems, which is fully revealed in the system of images of M. Akhmedov's poems.

The prospect of our research is seen in the further multidimensional study of the figurative system of the entire poetic creativity of M. Akhmedov, as well as modern Dagestan poetry.

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