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13PHILOSOPHICAL SCIENCES
EXISTENTIALIST MOTIF IN THE STORY OF THE MOURNING BEAUTY BY M.AUEZOV
Elubaeva K.
Eurasian National University named after L.N. Gumilyev, Faculty of Social Sciences, Department of Philosophy, 2nd year Master's Degree student in Philosophy, Nur-Sultan, Kazakhstan
Abstract
The article is devoted to the topic of oppressive sorrows in the work of M. Auezov. The story of The Mourning Beauty ("Karaly Sulu") by the writer describes the tragedy of human nature, the skill of depicting the loneliness of man in the world.
Keywords: Suffering, existentialism, defenselessness, loneliness.
Works on the theme of homelessness, loneliness, helplessness in human nature are considered in philosophy within existentialism. "Existentialism develops in Kazakh literature in the late twentieth and early twenty-first centuries.Because the changes in the Kazakh society, the existential crisis, the spiritual decline led to the development of existence in culture and literature"[1, 207-208].
The stitching of M. Auezov's stories, which belong to the first stage of his work, did not easily fit into the space of realistic literature of the twentieth century.However, from the very first works it is possible to observe simple everyday events and situations that reveal the hidden "springs" of the characters governed by the laws of human life.In real historical situations, there is an intensification of general contradictions.In this way, a new interpretation of the traditional life material is given.
Early prose of M. Auezov is difficult and ambiguous in its aesthetic structure. The writer's transitions from tension to simplicity are explained by internal artistic features. It would be useful to consider the connection of philosophical thoughts with real life and the inner nature of creative pursuits, that is, the direct existence of philosophical concepts, postulates, the realization of such philosophical ideas allows us to talk about existentialism. At the same time, the search for the exchange of life and art shows the diversity of ideological and aesthetic orientation of the word painter.
Of course, it would be absurd to talk about the existing system of existentialism in the writer's work and its transformative role in literary activity, but it should be noted that there is such a special approach to life and culture, given the experience of real personal phenomena. From this point of view, it is worth noting that this type of thinking is typical of European and Russian writers, who are well acquainted with the work of the Kazakh writer. Therefore, the philosophical motifs in the first works of M. Auezov require individual research and contribute to the understanding of the depth of personal thought.
During the reorganization in the literature, it might have appeared that Mukhtar Omarkhanuly annoyed an"opponent" as Soviet government,but he was engaged in solving the problems that exist within us, but were invisible. The writer was interested in the drama of "local life", the role and significance of the
individual in answering the "vital" questions of the world order, the obstacles in human life. His "fact of life" and his concern as an author were reflected in his stories, and this peculiarity led him to think existentially. Perhaps the young writer wanted to test the viability of his philosophical knowledge based on his life experience.
The harmony of the world and man is one of the main themes of the first prose of the writer, where the existential formulation of certain problems is observed. From this point of view, we can consider such works as "The Day of the Defenseless", "Orphan", "Stories of the Land". In this regard, it can be seen that the author has identified two constant categories: content and story, and aims to revive it in the difficult life of the man. The phenomenon of being that accompanies the life of M. Auezov's characters, the nature of its understanding, the direction is determined by a qualitative worldview that was widespread in the early twentieth century.
Many stories of the artist and writer M. Auezov, who was able to write in depth about the problems of existentialism inherent in Kazakh life, include works dedicated to loneliness, including the tragic life of a woman.One of the best and unique stories of the author on this topic is The Mourning Beauty.
The first version of M. Auezov's story,The Mourning Beauty was published in the Dawnmagazine (Tan) in Semey in 1925, issue 2 (pages 79-92) under the pseudonym The Walking Word Man. The second version was included in the collection called In the Shadow of Antiquity in 1935. The story was written by the writer while teaching at a pedagogical college in Semey. From the theme of the story of The Mourning Beauty we can see that the writer at that time did not focus on politics, but on human, and human feelings, and wrote literary works of art.There is a big difference between the two stories. The main feature is that the first version of the writer is written in a romantic style, which depicts the fidelity of a girl, and the second version portrays a woman who resisted lust but could not win. In the first version, Karagoz doesn't give in to temptation and doesn't fall into Bolat's arms. Aswe know, Karagoz fell into the river in herdress, and hit her feet on the rocks in the water. She healed the pain in her soul with the physical pain, hugged her Mukash and went back to sleep. And in the well-known versionshe gave in. What is the force behind such final
changes?Otherwise, we have no right to blame Karagoz, who is depicted within such a big psychological image. We can assume that the Soviet ideology of the time stood behind making such changes to the second version of the story. Given that Karagoz, a widow of aristocratic descent who had been faithful to her husband for six years, could not fall into the arms of a poor Bolat. Undoubtedly, the work of the writer was influenced by the political government of that time. He may have made such changes only in an age when the truth was hidden, as it was the only way for his works to be published. Whatever the reason, we do not know it.
The tragic character in the story of The Mourning Beauty is Karagoz. In the work, which touches on a woman's drama, the feelings of the only widow in the village, her inner sorrow and grief are told. The very beginning of the work shows that the life of the mourning Karagoz with heavy fate is meaningless, colorless and hopeless. In describing moments from her life experience, the writer often uses the word "black" («кара»): "mourning" («каралы»), "sad" («кайгылы»), "black wind"(«каражел»), "black mood" («каралы^й»), "black snake" («каралыжылан»). This means that the ideological nature of the story makes the widow's life meaningless.Karagoz is defenseless. She doesn't believe that she will ever get married and experience love lifeagain. Sheblockedthat path outfor ever and just locked the door so that it would not open. After the death of her beloved husband, she vowed in public not to marry ever again. For that her people honor her, upraise her. The very name "The only widow of the village" shows that Karagoz's condition is so deplorable. The writer was able to reveal the theme of loneliness in philosophy through Karagoz. Nobody oppresses her in the story. However, her enemy is inside, not outside. Her main enemy is her femininity. The pain and anguish of a woman who has been fighting the enemy for six years are known only to herself. The people, who have long forgotten about Azimkhan's death, are somehow less concerned about her sorrow. There are even no grandmothers or elders in the village who care about the fate of the widow. That's why she is defenseless. Her patience was almost exhausted as she continued to stay alive for the sake of her son, who had been her only joy and hope for the future. The writer does not even show that little gleam of the light which could come into her life. Even the son is not portrayed as a one to alleviate his mother's grief.As the story unfolds, we see Karagoz's lonely soul and suffering. While fighting her inner enemy at night, seeing during the day the women and girls laughing and enjoying life, especially witnessing Bolathaving fun with them, even though he is an old man, only aggravate her grief.
Since existentialism is a branch of philosophy that deals with the suffering of human life, in addressing this topic, M. Auezov compares the loneliness of women with nature.The harmony of the night with the description of a young man and a young woman sitting on the bank of the river under the bright moon, the stone-cold river, which was seen as the only savior by
Karagoz, barefoot in herdress and not noticing the heat of feelings, intensifies the protagonist's grief. In addition, the writer pays special attention to the peak of Karagoz's pain, the time of nature, between day and night: "... Every day, people, happy with their lives, were in their sleep at night, while in her sadness, covered with her blackkerchief were crying her heart out." [2, 220].Herbitter cry and monologues are heartbreaking. Twilight, the time between day and night is the most hated time for Karagoz. It causes a constant pain for her to experience every single day a moment when her wound is bleeding, her face is open and the soul is visible. The tragedy of Karagoz is that she crossed out the worldly pleasures and for Mukash gave up on man and vowed to be a widow for the rests of her life. That's why she hasn't been interested in anything for six years. Life moves along its own course, and so she gotnothing to do but to swim inconsolably with that stream. This world is alien to her. Not only the universe deprived herof the sweets of life, but also took away her other one from her. She suffered more than the pain of the body. Her soul is so full of wounds. Getting rid of the pain of the soul leads to getting rid of the pain of the body. M. Auezov clearly calls her lust a "black snake". Karagoz's main enemy is stronger than her. Both the reader and the writer know it. But the character of the protagonist, who gave up on life and turned in on herself, has also changed. Inner sorrow causes an unknown disease. Her quick temper, tears, and laughter at the same time are all part of this pain.
Karagoz does not see physical suffering, the writer depicts the severity of her moral and emotional suffering in deep psychological circles. Describing the air of spring and a good mood while walking, the writer says that the widow is alienated from this society, doesn't belong there: "There walks Karagoz, in the middle of the crowd, saddened and grief-stricken,the only widow who is the owner and the leader of this nomad camp"[2, 215]. The image of Karagoz described in this way does not give good hopes for the future. Bolat's lightsome fun with young girls, and the fact that Kara-goz has no choice but to take this in her stride, further aggravate her sorrow. You really feel sorry for this woman. At the age of 32, she has already suffered so much and it is also sad to realize that the vow she made costs a lot.
The turning point of the work is the defeat of Karagoz, who in an attempt to fight that snake in the middle of the day, before the twilight, saw the forest and fled to it. That is the lust, the wolf snake that the woman was fighting so hard. her honor, nobility were erased due to lust, human weakness. Eventually, she fell into an old man Bolat's arms. The question is not about who he was. Karagoz, who could not even put this wildfire of passion down by the icy water, finally lost.
The idea of the story is the winning of lust and passion over the woman firmly tied to the oath of faithfulness.In this story,Karagoz's desire and attraction to life can be seen as a sign of a modernism. The ideological meaning of the work is to show how love, attraction can overcome dogma, firmness of spirit. The uniqueness of the characters, the isolation of
extraordinary destinies above the situation, the tragic death of a loved one, the aesthetics of love are the hallmarks of the poetics of the romantic epic. The rotating nature of time (spring, six years) and space (return to Kayindy after Azimkhan'sdeath) gave a romantic content to the story"[5]. The life of the defenseless and lonely Karagoz was described by the writer M. Auezov with very delicate and deep psychological threads. This story is so relevant that it was staged in the theater and is one of the best works about a Kazakh woman, whose psychology is widely revealed.
Given that the current of existentialism deepens the contradictions in life, reveals that man is alone in life during the period of conflict of consciousness, M.
Auezov's story of The Mourning Beauty fully meets the requirements of this trend.
REFERENCES:
1. Orazbek M. Author and creative process: Monograph. - Almaty: Atamura, 2006. - 486 p.
2. Auezov M. Works. The first volume. Stories and short stories. - Almaty: Writer, 1967. - 446 p.
3. Amanshaev E. In search of a legend. - Astana: Saryarka Publishing House, 2013, - 384 p
4. Controversy in the stories of M. Auezov https://bankreferatov.kz/adebiettanu/1855-2011-
05-13-15-55-38.html
5. About short prose by Mukhtar Auezov. http://old.adebiportal.kz/kz/news/view/muhtar_auezov _shagin_prozasi_hakinda_22302
