LITERARY PORTRAIT GENRE in ANAR's ART Mammadova Elnara Elkhan1

Periódico do Núcleo de Estudos e Pesquisas sobre Gênero e Direito Centro de Ciências Jurídicas - Universidade Federal da Paraíba V. 9 - Nº 02 - Ano 2020 ISSN | 2179-7137 | http://periodicos.ufpb.br/ojs2/index.php/ged/index

714 LITERARY PORTRAIT GENRE IN ANAR'S ART Mammadova Elnara Elkhan1

Abstract: In all his art, Anar turns to the genre of literary portrait as one of the Introduction forms of artistic and documentary In all his art, Anar gives special narrative of memorial-biographical attention to the richest cultural heritage literature. Anar's task is to create of his people, the nature and complete and reliable impression about development of which he studies from any outstanding person, his character, the point of view of individual place in society, shown in the context of outstanding persons who lived and a certain time and space. The hero of worked in different periods of literary portrait of Anar is real person development of national history. In order with real biography, whose personal and to do it, he often use the literary portrait creative fate the writer produces through genre as one of the forms of artistic and his perception, using both documentary documentary narration. Usually literary and artistic means. Literary portraits of portrait of Anar consists in a model of the Anar make it possible to study this genre world, reflecting the author's concept of as independent one, consisting in the created character. In this regard, the experience of genre synthesis, where the consideration of the features of literary author's concept of the world and human art of Anar makes it possible to present is expressed most clearly. the features of the worldview positions of modern people in the conditions of Keywords: literary portrait genre, growing interdependence and Azerbaijani literature, Anar's art, genre integration. synthesis, artistic and documentary The purpose of this article is to narration. analyze the artistic features of literary

1 Sumgayit State University, Head Teacher of the Faculty of Literature of Azerbaijan and Foreign Countries. Email: metodist.az@ mail.ru. ORCİD: https://orcid.org/0000-0002- 4010-4774

715 portraits in the art of modern Azerbaijani who actively turned to biographical writer Anar, based on his works, since materials when analysing creative one of the main genre trends in the writing. He created a number of literary development of modern world literature portraits of G.R.Derzhavin, as a whole is referring to literary portrait V.A.Zhukovsky, A.S.Pushkin and as a way of determining moral and several others, and later, these literary aesthetic characteristics of a hero. portraits were combined in the book The scientific novelty of this called "Essays on Russian Literature" approach is associated with the [Markova O.V., 1988]. In this book the comprehension of main directions of writer's work was considered in close personal development of modern human, unity with his life, person, age. Further, with the possibilities of demonstration of such a genre, which is based on the person in the wide information space, in combination of creative and personal the conditions of the interdependence origins, allowing you to create holistic and integration which become closer day view of certain artist, outstanding by day. The spirit of the time, recognized person, was established in literary by the writer, demonstrates itself namely terminology as a "literary portrait", in portrait sketches, where main features designating one of the genre formations. of modern person, aspiring to the The “Concise Literary creation of new humanistic Encyclopaedia” defines a literary characteristics, are captured. portrait as “a documentary essay about a writer, artist and outstanding public Development figure” [Baraxova V.S., 1985]. The phrase "literary portrait" Researchers are constantly make ("portraitlitteraire") was introduced into corrections to the definition of the genre, the literature by Sainte-Beuve, who adjusting it. For example, V.S.Barakhov began to create “literary portraits” of gives the following definition: “a literary “geniuses”, creative “minds” [Anar, portrait is an artistic holistic 2012]. In Russian literature, characteristic of certain real person in the N.A.Polevoy is considered as the first form of a memorial essay that creates an practitioner and theorist of this genre, idea about his/her individually unique,

716 living appearance, about his/her main principles of artistic and analytical character” [Baraxova V.S., 1985]. analysis in Azerbaijani literature. O.V.Markova defines a “literary portrait” as “a complex synthetic Discussion formation that develops on the border of The task of Anar when writing art and documentary genres” [Markova a literary portrait is to create by means of O.V., 1988]. verbal art the most complete and reliable As one of the forms of the impression about certain outstanding writer’s memorial-biographical prose, person, his character, place in society, literary portraits, being synthetic genre, shown in the context of a certain time built on a combination of documentary and space. The hero of the literary and artistry and having their own specific portrait of Anar is a real person with real ways of creating the character, consist in biography. At the same time, this is an classic examples of this genre, certainly image, a line of life, personal and enriched by creative person of their creative fate of which the writer author, his/her creative manner. produces through his perception, using both documentary and artistic means. Methodological Bases of Research. This is the aesthetic essence of literary In order to disclose, ground portrait of Anar, designed to reflect as current goal, various methods, including closely to the reality as possible both comparative analysis, methods of external features and the behaviour describing the artistic image were used in manner, character, language, thinking, the research. The research referred to views, whole biography of his hero, but scientific and theoretical practice of from the point of view of the author’s Azerbaijani literary studies, turned to the attitude towards this hero. methods of creating of artistic portrait of Literary portrait genre is often scientists. Scientific and methodological equalled with the essay genre or serves basis of the research is the thoughts of in relation to it as a synonymous term. general theoretical significance of However, an essay is a phenomenon outstanding scientists, literary scholars, more of journalistic degree, while literary portrait contains elements of

717 artistry and is more correlated with time distance, sometimes very long time fiction, or at least with documentary distance. fiction. To the greatest extent, this is able In case of historical figures, the to be applied to literary portraits of Anar, author designs his “portrait” based on the who brings in them his subjective learning of available information about feelings and sensations, breaking the hero’s biography and activities through them his attitude towards the drawn from various written sources, hero. Anar also gives great attention to while the portraits of contemporaries are artistic and visual means, clearly based on personal observations and even thinking through artistic component, close acquaintance of the writer with the composition and techniques of portrayed. Literary portraits of Nizami, expressive. For the most part, literary Fizuli, Nasimi, Vagif and Vidadi, portraits created by Anar, which M.F.Akhundov, G.Zardabi, Natavan, constitute extensive layer in his J.Mammadguluzadea Sabir, H.Javid etc. comprehensive and rich work. are able to be considered as such Literary portraits of Anar were portraits. Arranged in chronological also created based on the biographies of order, these portraits in common give an his contemporaries, based on personal idea about the development of impressions of the writer, captured in his Azerbaijani literature, starting with memory. These are representatives of the “Dede Gorgud” up to date. generation of Anar himself (Mammad Usually, the headings of literary Araz, Bakhtiyar Vahabzada, Vagif portraits belonging to many writers is the Samadoglu, Alla Akhundova, Elchin name of the portrayed. Anar also has etc.), representatives of younger such headings that immediately let you generation, up to the youngest (Afag know the name of the hero. These are Masud, Zalimkhan Yagub, Ilgar Fahmi, literary portraits of "“Where is Nizami? - Elchin Huseynbayli, Gunel Anargizi Every verse will answer “He is here”", etc.). However, perhaps, the greatest “A Word about Yusif Vazir”, number of literary portraits is devoted to “Reflecting about Mehdi Huseyn” etc. outstanding persons of the past, people However, more often, the heading of who are separated from the writer by a literary portrait by Anar expresses the

718 essence of character, the main trait of the suffering Huseyn Javid, the greatest hero, dominant feature that distinguishes dramatist who created priceless him from others, and determines the examples of tragedy, is called "The concept of character in the perception of Tragedy of the Author of Tragedies." Anar. Thus, Anar’s search line for the For example, literary portrait key moment of the person of the people devoted to the rebel poet, freethinker portrayed by him, the conceptual feature Nasimi is called "The Feat of the Poet." of certain person is determined already in “The Victory of the Poet” is the heading the heading. However, comprehensive of the portrait of Shah Ismail Khatai, the image in the unity of his creative and poet and ruler who reigned for 23 years personal characteristics, the place of this and marched from victory to victory. The artist and his views in the context of portrait devoted to the greatest lyric poet, time, socio-political, ideological views, singer of love and torment arisen from it, environment and circumstances both of Fizuli, called "The Sorrow of the Poet". personal and public nature, reveals in the The portraits of Vagif and Vidadi are text of the portrait. produced under one heading - “Singer of Each of the portraits of pleasures, singer of sorrows”. historical figures created by Anar has This union of two major poets individual colours, which is specified by in one work is not accidental. Both poets the appearance of the hero's person. lived in the same age, were friends, and However, at the same time, all portraits even related, having married their of Anar have common typological children. However, at the same time, features. First, all of them are Vagif was a singer of material pleasures, characterized by certain plot swinger and a sybarite; and Vidadi was a fragmentarily. In each individual case, poet whose poems were painted in the writer highlights the most sorrowful tones. “Memories about the expressively certain individual aspects Sower” is literary portrait of Zardabi, the of creative person. However, at the same publisher of the first Azerbaijani- time, in each portrait created by Anar language newspaper Ekinchi (Sower). In there is the author’s concept of the addition, the portrait of the long- character of the hero based on the

719 available facts of his biography, and the And the name of literary portrait reflects time and space in which the hero lived actual fact of the bullet-ridden and created are reflected. Second, the monument of Natavan, which once narrative structure of each portrait, adorned Shusha, and therefore of our irrespective of in which age his hero memory. lived, clearly expresses the inner world In literary portrait of Anar, the of the narrator himself, his attitude to the fact of real biography without prejudice depicted. to the objectivity of the content is In this regard, we can show as enriched to some extent by the creative typical example literary portrait of imagination of the author. His portrait is Khurshid Banu Natavan, called by Anar similar to the novel, since it reflects the “Wounded monument, wounded fate of man in time and space. However, memory”. The name of the poetess, unlike the novel, the image of the author Natavan who was the daughter of the last is more activated. Reading literary ruler of Karabakh Mehdigulu Khan, is portraits of Anar, one comes to the firmly connected with Shusha. Speaking conclusion that researchers who think about it, Anar writes: “At present, when that “Structural plan of the genre the road to Shusha has been prohibited represents that level of artistic harmony for us because of Armenian occupation, at which the "transition" of the reality Shusha, this city of my love, youth and material to artistic image takes place, its work in my mature years, makes me "recoding" is being implemented” are groan every string in my wounded soul” right [Urtiminseva M.Q., 2005]. [Anar, 2012]. The "novelistic nature" of This is a view from the present, Anar's portraits expresses itself in a bridge between the past and the writing out by the writer the life path of present, between us and Natavan, who his heroes, the most difficult vicissitudes lived in the 19th century, between Shusha of their personal life. We learn about the of Natavan and Shusha of Anar. Thus, sad of Nizami, who lost his beloved wife the author also becomes one of the - the beautiful Kypchak Afet and found characters in the portrait, and therefore solace in his son, about Nasimi's love to an object of the image for the reader. real material pleasures, about his painful

720 death in Aleppo, that “Shah Ismayil unique in the imaging of certain hero, on never smiled from the date of the Battle the other hand, of typical traits of this of Chaldiran until his death - whole ten person and allowing him to be correlated years” [Anar, 2012]. with other similar persons. We learn from the portrait Thus, revealing the image of devoted to Zardabi how he knocked the Shah Ismail Khatai, Anar writes: “there thresholds of the rich men to raise money were many battles “in his name” since to help needy students and for the his childhood, many sacrifices were newspaper, we learn about his first love, made for Ismail. Being the successor of his life and death with detailed glorious dynasty, he, as Anar writes, as if description of magnificent funeral that “this great person appeared in the world he did not want to give even a little long before his real birth” [Anar, 2012]. amount for Zardabi's educational Anar calls Nasimi “Renaissance person”, projects. In the artistic and integral this rebel, who rebelled against the image of a person, the uniqueness of his orthodox religion, proclaiming “I am internal and external appearance, God.” A poet, philosopher, propagandist thinking, language, character, manner of of Hurufism and a hero-martyr. This is behaviour in everyday life, in his how Nasimi appears in his main features creative activity, the aesthetic essence of in literary portrait of Anar. And this literary portrait genre of Anar is specifies many of his actions, his attitude revealed. to the world, and as a result, the reader Anar, creating his literary creates a full-fledged, visible idea of this portraits, uses various techniques to person. create the reader's visual impression A portrait is often perceived as about the hero. Sometimes this happens a way of literary, aesthetic and scientific- through a show of appearance, but more research, since it often allows you to often - direct author’s characterization, raise very actual problems of literary as well as showing actions, demeanour, criticism, history, philosophy, as well interpersonal relationships etc. There is evaluate the role and place of certain certainly discovery and emphasis by creative person in the development of artistic means of something individual, national and world literature, culture, art.

721 Literary portraits of Anar are especially author's concept of the world and human significant also in this point of view. His is expressed most clearly. Unfortunately, literary portraits give an idea not only there is still no work in Azerbaijani about certain individuals, but also literary criticism and criticism devoted to contain theoretically grounded thinking the study of the poetics and artistic about Hurrufism, Sufism, medieval specificity of literary portrait as the genre literature and philosophy, on the of Anar, it is also applicable to relationship of power and art in different Azerbaijani literature. Literary portrait periods of national history, and on much carries enhanced role of the author’s more. origin, therefore, various forms of It is no coincidence, that expression of the author’s person M.I.Andronikova in her book “From (citationality, intertextuality, a Prototype to Image”, considering literary combination of different time layers and portrait genre, noted: “Portrait is a kind points of view, etc.) get great role. of art model of a real concrete person, Most of all, Anar’s authorial which reproduces - directly or indirectly position manifests itself in theoretical - the environment of certain real person, generalizations that the author makes, his background, his individually unique discussing certain person, as well in connections with the outside world” lyrical digressions. This makes the [Andronikova M., 1974]. In this regard, narrative fabric in literary portrait the portraits of Anar are very multilayer, depriving it of monotony. demonstrative, since they give an idea of Thus, narrative of each of Anar's literary not only private fate of individual person portraits is built on the alternation of (although it is very important), but they strictly objective reasoning and also quite visibly give the context of the emotionally coloured lyrical digressions. age, the atmosphere of time, the tread of In determining the genre history. specificity of literary portrait, Literary portraits of Anar make fundamental question is the question: it possible to study this genre as an "Into which of the genre systems — independent one, consisting in the journalistic, artistic-journalistic, or experience of genre synthesis, where the fiction — the researchers include this

722 genre. Anar, usually, includes it into occurrences - Imadaddin Nasimi!” artistic-journalistic coordinate system, [Anar, 2012]. where in each individual case either the "They lived at the same time - artistic or documentary-journalistic a time of vague, harsh, cruel." [Anar, principle prevails. Going from fact, 2012]. This is the beginning of literary document to artistic comprehension, portrait devoted to Vagif and Vidadi, and Anar creates his own concept of then the analysis of their personal life character of the individuality of the hero. and work follows. Based namely on this The combination of novel and “triunity” (person, creativity, time) essay, artistic and journalistic thinking, special “plot” of literary portrait is inherent in Anar, allows him to create, created, a kind of composition is built manoeuvring between these various that allows you to create a complete systems of verbal art, a unified whole, picture of the hero, and most which every time consists in original importantly, “new knowledge” about mixed genre that combines elements famous person. sometimes of several genres. Thus, in The fight of Anar is in the name literary portrait, organic unity is formed of ensuring that the culture of the people, by elements of an essay, and a to accommodate time and individual documentary narrative, and an art essay, ideological trends, does not become a and a literary and critical article. victim of overthrowers of truths, which Important feature of the has been observed in history at all times, narration in literary portrait of Anar is a has encouraged him to create priceless combination of several contexts related "literary monuments" of the leading to each other: personal fate, originality of figures of Azerbaijani literature, art and creativity, features of the age. All these culture, as well of young, novice writers, three contexts are invariably involved in of worthy changes that aims to continue each literary portrait, being their the mission of their predecessors. Anar's typological trait. Thus, in literary portrait “literary portraits” artistically reinforce devoted to Nasimi, the author exclaims: his position, which in polemical form “This is how this age reflected in the art expressed in many of his journalistic of contemporary and eyewitness of the articles and speeches.

723 In this point of view, public is the embodiment of the time. Literary statement of November 5, 1992, signed portrait genre of Anar has a more local by Anar together with other 35 cultural structure in comparison with his memory figures, is worth a look. It says that books, about which we will talk below. national culture “has now found itself in a confrontation, in a fight against the Bibliographic References market criteria, market concepts and tastes, with the market level and Anar (2010). Azerbaijani literature, morality. At present, all the cultural art and culture. In 3 books Baku: heritage of our people undergoes total audit” [Anar, 2005-2008]. Letterpress

Conclusions ANar (2005-2008). Works in 5 books. To sum up the article, we can Baku: Yurd. say that literary portraits created by Anar have the following general parameters: Andronikova M. (1974). From they reveal the nature of real person, documentary facts in them are thought Prototype to Image. Moscow: up by the author, each of the portraits has Science. its own stylistics, melodics and intonation, which varies depending on Barakhov V.S.(1985). Literary the situations involved in plot, there is portrait. Moscow: Science. the connection into a unified whole in them of the fate of the character, his work and the time in which he lives. Concise Literary Encyclopaedia: in 9 By virtue of its nature, as one of books. (1968). Book 2. Moscow: the types of memorial-biographical Soviet Encyclopaedia. literature, literary portrait combines the past and the present, producing holistic Markova O.V. (1988). Literary image of historical time on certain material - the appearance of a hero, who portrait as the type of "writer" criticism //Artistic creativity and

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