Mukhtar Auezov (28 september 1897 — 27 june 1961) — was outstanding Kazakh writer, playwright and scientist. Academician of the Academy of Sciences of the Kazakh SSR (1946), chairman of the Writers’ Union of Kazakhstan.
Biography
Mukhtar Auezov was born on September 28, 1897 in Chingiz parish, Semey region (now East Kazakhstan region). The writer’s grandfather Auez from the Tobykty family had family ties with Abai Kunanbayev, and had a huge influence on the formation of the future writer’s view. [1]
Mukhtar Auezov had every right to be proud of his ancestors, among whom was Berdy-Kozha, a prominent man, a spiritual mentor of a generation. Through him, the kind of Auezov has been associated with Bakshaish-Khodja, a great-grandson of Khoja Ahmed Yasawi. Today this can be openly proud of, and in the old days for such kinship could pay the price of freedom. Therefore, in official papers among the ancestors of Auezov mentioned only father Omarkhan and grandfather Auez. However, the Auezov family had other remarkable relatives. Nurganym, one of the wives of old Kunanbay, Abai’s father was Auez’s own sister. And when Mukhtar was born, Abai was present at the toe in honor of his uncle’s grandson. Mukhtar Auezov was friends with Turagul, the son of Abai, and then married the granddaughter of Abai, the daughter of his other son — Magaui. Could not know Auezov and nephew Abai Shakarim, who was orphaned early, was brought up in the house of the poet. So the environment of the future writer contributed to his interest in literature. Semipalatinsk land has become a real nest of great writers. Today, in their common homeland, a historical and literary reserve “Zhidebai-Borili” was created, which unites the house – Museum of M. Auezov in Borili, and the mausoleum complex Abai-Shakarim, and the house – Museum of Abai. In addition to the house-Museum Auezov there is a mausoleum where his parents are buried. [2]
Early orphaned Mukhtar studied Arabic to read and write, read the poems of Abai. In 1907, Mukhtar went to study in Semipalatinsk, where his brother Ahmet already lived. He entered first in madrasa, and then in the five-class Russian school. Study was easy, and he played football, we can say stood at the beginning of this game in the Kazakh steppes. In the football team “Zharys”, Mukhtar played as a midfielder. [3]
(Figure 1. Young Mukhtar football player club “Arysh” 1914 year)
Young Mukhtar, who graduated in 1907 in the madrasah, was arranged in the 5-class Semipalatinsk school, and in 1919 Mukhtar graduated with honors from the Semipalatinsk teacher’s Seminary.
The life of the famous writer was inextricably linked with all the historical events of the country. For example, in 1918 Mukhtar Auezov together with the famous writer and member of the party “Alash” Zhusupbek Aimauytov published in Semipalatinsk magazine “Abai”. Mukhtar with Magzhan ZhumAbaiev and Khalel Dosmukhamedov went on an expedition to study the folklore of the Kyrgyz, Kazakhs, Dungans. He was positively shocked when he first read the epic “Manas”. From now on, this Kyrgyz epic will be very interesting to Auezov. Later he will enter the philological Department of Leningrad University. In 1923, Mukhtar Auezov took part in a special Commission to collect preserved manuscripts of Abai’s original works. Later, in the same year he entered the philological faculty of the Leningrad state University named after A. S. Bubnov. In September 1930, he was arrested by the OGPU. He was charged with a number of charges, including organizing the struggle against the Soviet government and writing works praising the pre-revolutionary life of the Kazakh people. [4]
In Leningrad then worked the best literary critics of the country. He enthusiastically studid Russian and world literature, and in the summer goes home, where he collects songs of akyns. Then he became lifelong friends with Ilyas Zhansugurov. And after the death of a friend Auezov will be a support for his family. In Leningrad, he married Valentina Nikolaevna Kuzmina, with whom they will go hand in hand until the end of life, although there will be many difficulties on their way. Despite this, he wrote articles for the encyclopedia about the wonderful Kazakhs, professionally engaged in oral folk art of his people, writes stories and stories such as “Gray – Fierce”, “Shot at the pass” and so on. However, in the autumn of 1929, Auezov was arrested and sent to Alma-Ata under guard. He was accused of belonging to the organization of Kazakh nationalists and in two and a half years Mukhtar was released. But for this he had to publicly repent of nonexistent sins. The “Statement of Mukhtar Auezov” was published, where the writer recognizes even his works as erroneous. Later, he settled in the Kazakh drama theater, and he began to teach at the Institute. For a while he demonstrates loyalty and even writes a play “For October”. And yet, on the advice of Ilyas Dzhansugurov, begins to seriously engage in the work of Abai. To begin with, he publishes a collection of poems by his great relative. By 1937 Auezov was the most famous writer in Kazakhstan. But also the most suspicious for the authorities. The machine of repression was gaining momentum, and first of all pay attention to those who have already been persecuted. His books are removed from libraries, and the writer was fired from his job. [5]
During repressions he managed to escape, having moved to Moscow where together with Leonid Sobolev, the writer, they write the tragedy “Abai”, scientific research “Epos and folklore of the Kazakh people”, release the collection “Songs of the Kazakh people”. In 1939, the writer writes on a piece of paper the line: “the Boy was in a hurry to go home.” These words, written in 1939, began the novel “Abai”. From 1932 to 1938 Mukhtar Auezov worked as the head of the literary Department of the Kazakh academic drama theater in Almaty. In 1933, Mukhtar Auezov has released the first full collection of poems and the works of Abai Kunanbaiuly “Abai Kunanbaiulynyn tolyq zhinagy” (in Latin) in Kyzylorda, was preparing the first scientific meeting devoted to works of Abai, also in the Kazakh music theatre has been staging his plays. Mukhtar Auezov was actively engaged in scientific activities: from January 1943 he worked as a senior researcher, then in 1946 he was appointed head of the literature sector of the Institute of language, literature and history of the Kazakh branch of the Academy of Sciences of the USSR. In 1941, he began writing the epic novel “the Way of Abai”, which was recognized by all writers from all over the world as an outstanding work. For this magnificent work Mukhtar Auezov was awarded the Stalin (1949) and Lenin (1959) prizes. M. O. Auezov was elected a Deputy of the 5th convocation of the Supreme Soviet of the Kazakh SSR. [6]
In 1941, the writer returned to Kazakhstan. He continues to write his novel, although literary officials are still suspicious of its subject matter. In 1942, the first volume of the novel was published. Immediately, Akhmet Zhubanov wanted to write an Opera “Abai”, and Auezov writes a script for it.
And the Opera was not immediately allowed, but at the end of 1944 it was staged and was a success. At once there was also an idea of a film adaptation of the novel, but in order to start the film, it was necessary not a lot not a little decision of the Central Committee of the Communist party of Kazakhstan. However, in September 1945, he made his Prime Minister. The Moscow authorities were favorable to the novel of the Kazakh writer: not only publish it in large circulation, but also award the author with the order of the red banner of Labor. Auezov defends his thesis, becomes a doctor of Philology, Professor, academician of the Academy of Sciences of the Kazakh SSR. [6]
In 1947, the second book “Abai” was published in Kazakh, in 1948-both books in Russian. In 1949, the novel awarded the Stalin prize first degree, and the author of the order “badge of Honor” despite the fact that in 1947 comes the Resolution of the Central Committee of the Communist party of Kazakhstan “About the rude political mistakes in the work of the Institute of language and literature of the Kazakh SSR. [6]
Mukhtar’s personal life was also put to the test. In his youth, he was married by family tradition to 15-year-old Raihan. Two children were born, but the family broke up.
In Leningrad he met Valentina Kuzmina. In this marriage a daughter Layla who later became a Professor and historian, she was in charge of the House-Museum of a famous father. In him emerged still son Ernar, in the future famous biologist. In the 1940s, the writer had a common-law wife, Fatima Gabitova. Their son Murat Auezov became a famous cultural figure, in addition, he established the Mukhtar Auezov Foundation.
In 1952, in the pages of Pravda, he was again accused of nationalism. The article ” Pravda “is reprinted the next day by “Kazakhstan truth”. Auezov was dismissed from the Academy, banned from playing his plays in theaters. And again he escapes in Moscow, where in 1954 he finishes the epic novel “the Way of Abai”. Meanwhile, other times come, and the writer safely returns to Alma-Ata, where he is restored in all positions. One day his son, Murat Auezov, was asked if his father was happy. He said, ” There are two dimensions. One dimension is domestic. In this respect, his life was extremely difficult. He lived quietly only for the last four years, starting in 1957, when he was awarded the Lenin prize for the novel “The way of Abai”. And how much of this was preceded by severe trials! How many times had his life and freedom hung in the balance! But, on the other hand, he realized in full as a unique writer. In this respect, he can be called a happy man. He is loved by his people. He was recognized in the great world literary world.” In 1961 he went to Moscow for surgery-a tumor in the stomach, died on the operating table. In 1961. the writer fell seriously ill and died in a hospital in Moscow. [7]
Merits
Multilingual literature put forward many brilliant names of artists. In this bright constellation the name of Mukhtar Auezov shines as a star of the first magnitude. Auezov became not only Kazakh writer, but a world writer too. His multifaceted creative activity characterizes the path of development of many national literatures, backward in the past and only after the revolution reached its peak.
Two main factors had a decisive influence on the formation of outstanding talent Auezov. First, a deep knowledge of the life of his native steppe, a close study of the folklore and language riches of the Kazakh people, as well as masterpieces of classical literature of the East; secondly, Auezov’s development of advanced literature of the Russian people and at the same time a wide acquaintance with the best examples of world culture. It is no coincidence that his first work — the play “Enlik — Kebek” twenty years old Auezov wrote in 1917, the year of unprecedented epochal changes. [8]
The first creation of Auezov was the first word in the Kazakh drama. The play was staged in the house of Aigerim, Abai’s beloved wife. Gradually, it came into use Amateur art circles in cities and villages of Kazakhstan, became the first swallow in the repertoire of the first national theater, opened in 1926.
Since then, “Enlik-Kebek”, remade and polished by the author, it does not leave the scenes of theaters. It is now one of the favorite plays of the people. Its conquering power lies in the fact that it recreates unforgettable images of a folk legend on the stage. Her characters are called as Kazakh “Romeo and Juliet”. [6]
Beautiful girl Enlik and brave Dzhigit Kebek, people of great willpower and deep feelings. Steadfastly and courageously they fight for their rights to free love in spite of the fierce resistance of the gloomy feudal lords, guardians of the gloomy customs of the past. These images are fanned by the romance of protest, the romance of light and fresh feelings. Let their tragic death in that historical situation be inevitable. Moral victory remains for them. The images of the “powers that be” are given in a strictly realistic way. Typical characters beys of Kengirbai and Espeleta reach a huge force of artistic generalization. One can only admire the skill of the young Auezov, who managed to so vividly outline the positive and negative characters in the play, create a deep dramatic situation, mastered the rich emotional language. Generation after generation watch this truly national play with admiration and joy.
In the 1920-s, Mukhtar Auezov wrote the play “Karakoz”, also revised later and established itself on the Republican stage. “Karakoz” to some extent continues the line “Enlik-Kebek” – shows the tragic fate of Kazakh girls in the conditions of the feudal-patriarchal system. These plays are joined by the drama “Baibishe and tokal”, in which the social evil and moral ugliness of polygamy are revealed. [1]
In the 1920-ies Auezov acts as a novelist. His pen belong narratives “Fate defenseless” (1921), ” Who is to blame?”(1923), “Orphan” (1924), “Violence” (1925), “Barymta” (1925), the story “Shot at the pass” (1927), “Gray fierce” (1928), etc. these realistic works show the complex processes that took place at the time of the Kazakh village. Creatively perceiving the method of critical realism of Russian classical literature, the young Kazakh prose writer exposes the essence of the baisko-feudal relations, shows the tragedy of ordinary people caught in the traps of rapists and exploiters. He created vivid images of such representatives of the people’s grassroots as the girl Gaziza (“the Fate of the defenseless”), the orphan Kasym (“Orphan”), the herdsman Kalgabai (“Barymta”), the farmer Zhaksylyk (“Violence”), Rabiga (“Steppe paintings”), the brothers Toktygul and Baktygul (“Shot on the pass”). Among these works, the story “the Fate of the defenseless” and the story “Shot at the pass” stand out for their ideological sharpness, artistic maturity. [1]
The studying Russian classics had a particularly fruitful effect on the portrayal of characters, on the subtle psychological motivation of the actions and deeds of the heroes in Mukhtar Auezov’s poems. For example, in the story “In the shadow of the past” the author shows why the daughter of Bai Jamesh, brought up on the grandfather’s customs, agreed to become the wife of the man to whom her deceased older sister was married. And after all it had beloved – the young man kabysh, man literate on the time. Horseman, having learned about such decision of James, hated her, not ceasing to love. To describe this situation, Auezov found a complex multi-color palette of colors. Auezov took a closer look to a few of the young rural intelligentsia, studied her features and reproduced on the pages of their short stories and novels in all its complexity. Before us appear and too trusting Ospan from the story “Marriage” and honest, sensitive, but helpless Islyam, the hero of the story “Who is to blame?”, educated, but cunning and evil Zhumagul in the story “Literate citizen”. [9]
Almost all his prose of those years was connected with collective farm subjects. Favorite characters of the writer – working Kazakhs in the collective farm. The writer shows them in different circumstances, observes in each individual traits and at the same time a common collective interest. These are heroic deeds in overcoming labor, concern for strengthening the collective farm economy and the fight against the enemies of collective farm life. In the story “Shoulder to shoulder” the writer makes it clear that the farmers Makpal, Aisha, Nesibeldy, Kozhyk and people of different stock and age, unanimous in achieving the goal and equally responsible and serious about work. The heroes of the stories “Narrow gorge”, “Tracks”, “Hunter with a Golden eagle” and “Sand and Askar” are shown were workers and farmers fight against enemies. The main thing for that time in these stories was to attract Russian people to the number of the main actors. So, in the story “Narrow gorge” district worker Panshin helps Samat, Aisha and their comrades to catch the criminal, in the story “Sand and Askar” Fyodor together with Raikhan and Yesim save farm property from saboteur, in the story “Hunter with a eagle” commandant Alexandrov helps Bekbol and Ospankul in search of the enemy. [10]
The first prose works of Auezov, devoted to collective and state farm life, show that the writer was persistently looking for new themes and new artistic means, that he is close and dear to the Soviet reality, that he is not an outsider, but an active participant in socialist transformations. Not only one success marked this path. Sometimes a pre-drawn sociological scheme interfered with a deep study of the inner world of the characters. [10]
Auezov’s work in the 30s prepared his way into great prose, became the basis for further improvement. During these years, the writer worked a lot in prose and drama. But especially they were fruitful for the writer – playwright. During this period he wrote about ten plays, translated into Kazakh a number of works of world, Russian classical and Soviet drama: “Othello” and “the taming of the shrew” by Shakespeare, “The Inspector” by Gogol, “Love Spring” by K. Trenev, “Aristocrats” by N. Pogodin, etc. These translations enriched the repertoire of the Kazakh theater and greatly contributed to the growth of Kazakh drama and theatrical art. [11]
The play “Ayman-Sholpan”, created by him was an example of creative use of folk heritage, a deep understanding of the true essence of folklore, a thoughtful selection of its realistic elements. The tradition started by Auezov was developed and expanded by Musrepov in stage “Kyz-Zhibek ” and by Kamalov in stage “Er Targyn”. [11]
Auezov also addressed historical topics. So, in the play “Night peals” Auezov manages to create realistic, historically true pictures of the popular movement, images of its leaders and ordinary participants. Revised and later called “Zarnitsy” (1934), this play also became a landmark work in the Kazakh drama. The play is based on the national liberation uprising of 1916. [11]
The most difficult problem of drama in those years was the development of contemporary themes. Auezov devoted to this theme plays “Fight” (1934),” Stone plumage “(1935),” In the Apple orchard “(1937),”On the border” (1937). [12]
Auezov’s fertile work in prose and drama prepared the writer for the main work of his life, the epic of Abai.
Abai’s poetry was known to Auezov since childhood. The aesthetic taste of the artist was formed on the poems of the great countryman. Auezov carefully read the poetry of Abai, questioned in detail about him connoisseurs and contemporaries, especially those who knew the poet during his life. The accumulated knowledge allowed Auezov already in the early thirties to lay the foundations of scientific Abai studies. In those days, with the seeming diversity and genuine diversity of his works before Auezov with increasing appeal rose the theme of Abai. It was not a hobby, but a mature and high love growing from year to year. The story “the Song of Tatiana in the steppe”, published in 1936 in the newspaper “Kazakh adebieti”, is the first significant step to the solution of this important topic. [11]
In 1940, the tragedy “Abai” appears. Auezov co-wrote it with Leonid Sobolev. For the first time the image of the brilliant Kazakh poet and thinker appeared on the stage. The play resurrects the last years of Abai’s life, the period when he fearlessly rebelled against the violence and injustice of a cruel age, fought a battle with the black forces and collapsed like a felled plane tree in an unequal struggle. Deeply true idea, acute life conflict, successful dramatic tie and its resolution, sparkling dialogues and full thoughts, pathetic monologues serve the main task to reproduce the heroic power of Abai’s character. [13]
The background of the tragedy “Abai” is the love story of Aydar and Azhar. It ends sadly and to a certain extent traditionally. A happy solution for those times would be, in fact, atypical. But Aidar and Azhar are no longer naive, they are educated people and are fighting for personal freedom. [13]
(Pic 2. Mukhtar Auezov at work)
In the play “Abai” there is no boring edification and bookish rhetoric. Abai’s monologues and remarks are filled with passionate poetry. In his actions and relationships with enemies and friends looms bright and majestic image of the poet. Both friends and foes of Abai are shown by the playwright in distinct social and individual characteristics. In their reflections and disputes, in their clashes, the voice of the era, the voice of historical truth is heard.
The tragedy “Abai” can be compared with the heroic Overture to the multifaceted socio-historical work, which was nurtured by Auezov in those years, and was now known to the world under the name “The Way of Abai”. After many years of careful and thoughtful research, after a long search Auezov set about creating a novel that he wrote about fifteen years. Together with the main book of his life, the writer in these years created a number of works of various genres. These were essays and stories “Golden ring”, “High origin”, “Front”, “In the poet’s homeland”, plays “White birch” (co-authored with A. Tazhibayev), “Becket”, “In the hour of trials”, “Karakipchak Koblandy”. Later he wrote: “The creation of novels “Abai” and “The Way of Abai” — – a favorite thing almost all my creative life.” [13]
The first book of the epic was published in 1942, the second – in 1947, the third-in 1952 under the name “The Way of Abai”, the fourth with the same name was published in 1956. Each book of the novel was immediately translated into Russian. [11]
For the novel about Abai in 1949 M. Auezov received the State prize, and for all four volumes of the epic “The Way of Abai” in 1959 he was awarded the Lenin prize. In the history of Kazakh literature, this was the first time that a writer’s work about a creative person was awarded the most honorable award of the socialist state. This event alone testified to the flourishing and high achievements of Kazakh literature. [11]
The first books of the novel “Abai” after its release in Russian were translated into many foreign languages and received recognition from readers and progressive writers around the world. Of course, many explanations can be found for this, but the main thing is the brilliant ideological and artistic qualities of the epic about the Kazakh people and its best sons.
Outstanding Kazakh scientist Kanysh Satpayev deservedly called “The Way of Abai” encyclopedia of half a century of life of the Kazakh people. Indeed, it not only shows half a century of Abai’s life, but at the same time gives a broad picture of the life of the entire Kazakh people of the second half of the 19 century. Auezov colorfully and accurately recreated the social life of the Kazakhs of that time, their struggle, everyday life, customs.
The high demands made by socialist realism to the historical novel can be summarized as follows: the image of a certain historical person in a certain social environment, the display of the historical truth of life in its dialectical development, the disclosure, search and determination of trends connecting the past with the present. Guided by these principles, Auezov created in his novel a unique inspired image of the great poet-educator, opened to the modern reader the spiritual appearance of the entire Kazakh people, the brightest representative of which was Abai. [1]
Auezov became not only a creative researcher and singer of Abai – on the scale he became his heir. He fathered the Soviet people with a man intrepidly striving for the cherished goal. The writer connected Abai’s dreams with the truth of our time. That is why his novel and the beautiful image of the great poet created in the novel are so dear to us.
Mukhtar Auezov is the Creator of images-symbols. If in the epilogue of the novel “Abai” the hero is shown as the pilot of the ship, leaving the future, then in the novel “The Way of Abai” he is likened to a high peak on which the first rays of the sun fall. He seeks to gather their light for the dark nomadic people, thinks about their needs and sufferings. His keen eyes before others saw the future of the Kazakhs, full of justice and humanity. [9]
Abai was not destined to see his dream come true. A great man “with forty patches on his heart” died of grief, sorrow and anger. But he firmly believed in the future and left the fire of his poetry a difficult path to it. Poetry, wise and fiery, brought the name and ideas of Abai from the darkness of the past, brought to the next generations. Our time is the realized dream of the people, which the poet saw in the flame of the Golden dawn.
The novel was translated into Russian, and then into dozens of languages of fraternal Soviet peoples and foreign languages. Now he was known all over the world.
The epic about Abai was highly appreciated by famous Soviet writers M. Sholokhov, A. Fadeev, K. Fedin, N. Pogodin, V. Ivanov, N. Tikhonov, B. Gorbatov, K. Simonov, M. Huseyn, A. Tokombayev, B. Kerbabaiev, A. Faizi, representatives of foreign literature N. Hikmet, A. Zegers and many others.
The newspaper “Pravda” wrote that the novel “Abai” by M. Auezov is a great event not only in Kazakh, but in all Soviet literature”. N. Tikhonov noted: “M. Auezov’s epic novel about the great Kazakh poet-Democrat and educator Abai Kunanbayev was an outstanding work not only in the work of this author, but stands out for its artistic merits in all our multinational literature.” [14]
L. Sobolev stated: “There is a special meaning in the fact that the first Kazakh novel, which received the State prize, is a novel about Abai Kunanbayev. At the time, Abai brought to the stage Pushkin’s Tatiana and introduced his people to Russian literature. And now one of his descendants — the Kazakh writer introduced millions of Russian readers to Abai himself.” [15]
The Kazakh people have recently been nomadic, as if cut off from the General culture of mankind. Now everything has changed radically. However, from the vivid evidence of this-the epic of Mukhtar Auezov, who was not limited to the image of purely external attributes of people’s life, and revealed the finest curves of human souls. And it turned out — everywhere people. Thoughts, feelings, dreams and hopes of Kazakhs are universal.
So we come to the conclusion that Auezov’s epic has an international sound. It is international. One of its leading motives is the winged sense of friendship between the Kazakh and Russian peoples. It’s a great feeling pervades the entire work and gives it an integrity, a breadth, a universal significance.
This is confirmed and expressed by the foreign press. Andre Style in the newspaper “Humanite” stressed: “If you take the novel by M. Auezov, then in here first of all you will feel the breath of poetry, you will see the wonders of distant lands. We are in such a time surprisingly consonant with this distant land, as the fate of this people is not completely alien fate.” [16]
Having finished his famous epic in 1956, M. Auezov devoted himself entirely to the study of modernity and during the last five years of his life he visited many of the largest construction sites in the country and visited abroad. He told about what he saw in brilliant travel sketches. Thus arose the collections “Turkestan” and “Essays about India.” [17]
Auezov was a brilliant researcher of native literature, literature of the peoples of the USSR, the great Russian literature and works of foreign writers. One of the first in the twenties, he began to study Kazakh literature, to analyze such indigenous genres of Kazakh folklore as fairy tale, aitys, epic. He was the chief editor of the first book of the six-volume history of Kazakh literature. Continuing the work started by Chokan Valikhanov, he studied the world-famous epic of the Kyrgyz people “Manas”, dedicated his monographic work to it. Auezov wrote articles about Shota Rustaveli and Taras Shevchenko. In the book “Essays of Kazakh Soviet literature” he owns a large Chapter on the literature of the peoples of the USSR. Russian classical literature was influenced by the realistic traditions of Russian classical literature on Kazakh literature, devoted interesting essays and articles to the works of Russian classics – Pushkin, Lermontov, Tolstoy, Ostrovsky, Chekhov, Gorky. [9]
At the II Congress of Soviet writers of the USSR M. Auezov together with M. Rylsky and P. Antakolsky made a report on the problems of literary translation. On the pages of the magazine “Communist” M. Auezov co-authored with M. I. Fetisov published an original article about the national form and national character in literature. Numerous articles and reports of M. Auezov about modern Kazakh literature. Many of them are published in Kazakh and Russian in the book “Thoughts of different years” and “Time and literature”. His literary works are the result of close attention and love to the spiritual heritage of the past and to today’s culture. [1]
Attaching great importance to the relationship of literatures, Auezov tirelessly sought in the works of fraternal literatures enduring values for the enrichment of Kazakh literature. All his conclusions he built on rich material, subjecting it to scientific analysis. He skillfully applied the method of comparison, which had a beneficial effect on his research in the field of Kazakh folklore. For many years studying the work of Abai, he established and historically justified its ties with Eastern, Western and Russian literature. In the article about the modern novel and the intellectual hero Auezov purposefully compares his personal experience with the experience of other Soviet novelists. [11]
Auezov’s contribution to literary translation, especially in the field of drama, is known. He said that by translating into Kazakh plays by Shakespeare, Gogol, Pogodin, he sought, first, to acquaint the Kazakh people with the work of the best playwrights of the world, and secondly, opened their skills for the Kazakh drama, for the national stage. He translated not only plays, but the novel “The noble nest” by I. Turgenev and the story “After the ball” by L. Tolstoy. Armed with creative experience, he successfully dealt with the theory of literary translation. [7]
His attention was invariably attracted by the work of almost all his colleagues in pens. He can be found and correct estimates-forecasts of his younger comrades at the very beginning of their literary path and figurative accurate characteristics of already known writers. Thus, in an article written in 1936, Auezov revealed the special merits of Seifullin’s remarkable poetry, defining them as masculinity and sincerity inherent in party and nationality. In literary-critical statements Auezov affect not just the right generalizations, but also a subtle insight into the nature of poetry, to the lab work.
Their creativity Mukhtar Auezov made a great contribution to the Kazakh literature is rightly becoming a classic. A famous writer, scientist, teacher, public figure, he rose to the top, which is given to overcome only selected artists. The remarkable works of Mukhtar Auezov combined Kazakh literature with the advanced literature of the century and acquainted the world reader with the Kazakh people, with their life, national character, with its history and culture. [9]
Memory
(Pic 3. Monument to Mukhtar Auezov in front of the Kazakh drama theater named after M. Auezov)
In honor of Mukhtar Auezov, the streets and districts of Almaty were named, as well as in other cities of the Republic of Kazakhstan. He is also named after streets and schools in the post-soviet countries. In 1963, in the two-story house of the writer in Alma-Ata, the M.Auezov House-Museum was opened. His name was given to South Kazakhstan State University in Shymkent. In 1967, a monument to M. Auezov was unveiled in the park near the Opera and Ballet Theater named after Abai in Alma-Ata. In 1965, the participants of the mountain expedition assigned the name of Auezov to one of the peaks of the Tien Shan, nearly 6000 m high.
The list of used literatures:
1. Mukhtar Auezov encyclopedias-Almaty,” Atamura ” baspasy, 2011 zhyl.
2. Http://natalya-telezhinskaya.ru/2017/04/18/мухтар-ауэзов/
3. Abildinov, Kairat. Yarysh –Kazakh futbolin arlease / ). Abildinov / / Egemen Kazakhstan.- 2017.- 27 Nauryz (No. 58).- 10 b.
4. Kazakhstan. National encyclopedia / CH. Ed. B. Ayagan. – Almaty: Main edition: “Kazakh encyclopedias”, 2004 – 560 p — – P. 299-30. Akmola: encyclopedia-Almaty: Atamura, 1995, – 400 p. – P. 292.
5. Nurpeisov R. Auezov and Alash. – Almaty, 1995.and of Astrakhan
6. Auezov, Mukhtar Omarkhanovich // the Great Soviet encyclopedia : [30 t] / chief Ed. A. M. Prokhorov. – 3rd ed. – Moscow: Soviet encyclopedia, 1969-1978.
7. Http://auezov.kz/page.php?Page_id=291&lang=1
8. Anastasiev N. The Tragedy of the triumphant. – Almaty, 2007. – 2nd edition, revised and enlarged.
9. Akim M. G. The world who know mukhtar auezov // the Scientific community students: an interdisciplinary study: proceedings of St. On the Mat. I international. Student. Science.- pract. Conf. No. 1. URL: https://sibac.info//sites/default/files/files/06_12_12/06.12.2011.pdf (accessed 21.11.2019)
10. Mukhtar Auezov. Articles and Research. URL: http: //kzworld.nis.edu.kz/book/m_auezov_maqalalar_zertteuler_2/files/assets/basic-html/page52.html.
11. Short Literature Encyclopedia. Volume 1.Moscow 1978 y. P-375.
12. Lizunova E. And Dyusenbaev I., Mukhtar Auezov, Alma-Ata, 1957
14. Newspaper “Kazakhstanskaya Pravda” Issue March-April 1957.
15. The journal “Oktyabr” (№ 7-8), 1945.
17. Auezov M. Essays on India. – Alma-Ata: Kazgoslitizdat, 1958. – 129c
Junior scientific researcher, Institute of history and ethnology named after Sh. Ualikhanov