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Educating the Poets and Fostering Uzbek Poetry of the 1910S to Early 1930S

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Educating the Poets and Fostering Uzbek Poetry of the 1910S to Early 1930S Cahiers d’Asie centrale 24 | 2015 Littérature et Société en Asie centrale Educating the Poets and Fostering Uzbek Poetry of the 1910s to Early 1930s Ingeborg Baldauf Electronic version URL: http://journals.openedition.org/asiecentrale/2919 ISSN: 2075-5325 Publisher Éditions De Boccard Printed version Date of publication: 10 March 2015 Number of pages: 183-211 ISBN: 978-2-84743-112-4 ISSN: 1270-9247 Electronic reference Ingeborg Baldauf, « Educating the Poets and Fostering Uzbek Poetry of the 1910s to Early 1930s », Cahiers d’Asie centrale [Online], 24 | 2015, Online since 10 March 2016, connection on 19 April 2019. URL : http://journals.openedition.org/asiecentrale/2919 © Tous droits réservés (GXFDWLQJWKH3RHWVDQG)RVWHULQJ8]EHN 3RHWU\RIWKHVWR(DUO\V Ingeborg BALDAUF* Introduction ,Q&HQWUDO$VLDOLNHHOVHZKHUHRQHDUWKWKHUHPD\KDYHEHHQWKRXVDQGV RISRHWVDERXWZKRPWKHZRUOGZLOOQHYHUNQRZDVWKHQRWLRQRIVDQGLT DGDEL\RWL>OLWHUDWXUHIRUWKHVWRUDJHFKHVW@LQGLFDWHV7KHVHSHRSOHMXVWQHYHU made their marks as poets – by coincidence because they did not meet a VXLWDEOHDXGLHQFHRXWRIVK\QHVVLIWKH\GHHPHGWKHLUZULWLQJVXQZRUWK\ RIVHHLQJWKHOLJKWRIGD\RUHYHQEHFDXVHWKHLUHIIRUWVZHUHWXUQHGGRZQ E\HOGHUVRIWKHZULWLQJHVWDEOLVKPHQW7KHOLWHUDU\PLOLHXLWVHOIZDVWKH LQFXEDWRURISRHWVPXFKOLNHJXLOGVZKLFKZRXOGUDLVHWKHLURZQIXWXUH generations of craftsmen. The milieu provided guidance in shaping literary SHUVRQDOLWLHVDQGLQUHWXUQWKHµFRUUHFWLYHRIWKHFROOHFWLYH¶PDGHVXUHWKDW VLPLODUZRXOGUHSOLFDWHVLPLODUZKLOHH[FHSWLRQDOWDOHQWVRUDOVRVLPSOH RXWVLGHUV OLNH ZRPHQ RU QRQDI¿OLDWHV RI WKH SURSHU FODVV ZRXOG KDUGO\ make it into the milieu, let alone to the top. Most of the literary life of ODWHQLQHWHHQWKDQGHDUO\WZHQWLHWKFHQWXU\7XUNHVWDQIROORZHGWKLVWLPH honoured mode of continuous self-reduplication of poets and poetry in * Ingeborg Baldauf is a professor of Central Asian languages and cultures at Humboldt Uni- YHUVLW\LQ%HUOLQ*HUPDQ\+HU¿HOGVRIUHVHDUFKLQFOXGH8]EHNODQJXDJHDQGOLWHUDWXUHRI WKHWZHQWLHWKDQGWZHQW\¿UVWFHQWXULHVDQG&HQWUDO$VLDQDQG$IJKDQLVWDQLVRFLRFXOWXUDO issues concerning Turkic- and Persian-speaking communities from the mid-nineteenth cen- tury until today. Contact: [email protected]. Cahiers d’Asie centrale, n° 24, 2015, pp. 183-212 184 Ingeborg BALDAUF FLUFOHV JDWKHULQJ DURXQG DFNQRZOHGJHG SRHWV FRXUW DI¿OLDWHV DQG RWKHU noblemen, and representatives of the Russian imperial administration. $PRQJWKH7XUNHVWDQLOLWHUDWLWKHUHZDVQRFOHDUGLYLGHEHWZHHQµWUDGL- WLRQDOLVWV¶DQGµLQQRYDWRUV¶PDQ\SRHWVZRXOGPLQJOHZLWKLQFLUFOHVGRPL- QDWHGE\RQHRUWKHRWKHUEDVLFRXWORRN +RML0XLQS:HQQEHUJ SSII ,QWHUHVWLQJO\PDQ\SRHWVZHUHPXFKPRUHFRQVHUYDWLYHLQ style than in thought. While their repertoire of forms and styles remained ERXQG E\ WUDGLWLRQ TXLWH D IHZ RI WKHLU ZULWLQJV PLUURU VRFLDO QRYHOWLHV like the advent of imperial rule, early capitalist economy and European-like OLIHVW\OHVDQGWHVWL¿HVWRDKLJKGHJUHHRISROLWLFDODZDUHQHVV$OWKRXJK old-fashioned in style, poetry of this kind continued to appeal to the tastes RIWKHDXGLHQFHDQGZDVWKHUHIRUHFRQVLGHUHGVXLWDEOHIRUPRGHUQWLPHV into the 1930s and later – under the condition that its contents conformed WRWKHQHZLGHRORJLFDOIUDPHZRUN2QWKHRWKHUKDQGSRVWFODVVLFDOVW\OH O\ULFVWKDWUHPDLQHGFRQ¿QHGZLWKLQROGZD\VRIWKLQNLQJDVZHOOZRXOG be denounced by early Soviet Uzbek critics as ‘PXYDVKVKDK DGDEL\RWL¶1 (Oybek, 1927). The negative connotations of this term appear to echo the overall Jadid Muslim reformist aversion to imitation and epigonism (WDTOLG ZKLFKFDVXDOO\PHUJHGLQWRHDUO\6RYLHWUHYROXWLRQDU\GLVFRXUVH 1HZ2SWLRQV 7KHSHULRGLFDO3UHVVDQG(QOLJKWHQPHQW/LWHUDU\&LUFOHV 7KH HPHUJHQFH RI WKH SHULRGLFDO SUHVV LQ HDUO\ WZHQWLHWKFHQWXU\ 7XUNHVWDQRIIHUHGSRHWVDQHZIRUXPLQDGGLWLRQWRWKHROGRQH7KHHDUO\ HGLWRUVZHUHLQQHHGRISRHWU\WR¿OOWKHSDJHVRIWKHLUQHZVSDSHUVDQGMRXU- QDOVDQGPDNHWKHLURWKHUZLVHGU\SDSHUVPRUHDWWUDFWLYHIRUDQDXGLHQFH WKDWZDVDQ\ZD\UHOXFWDQWWRDFFHSWWKHQHZPHGLXP7KH\QHHGHGSRHWU\ ¿UVW RI DOO WR KHOS FRQYH\ WKHLU LGHRORJLFDO DQG SROLWLFDO PHVVDJHV EXW WKH\ZRXOGDOVRSXEOLVKVRPHDUWIRUDUW¶VVDNHDQGPRVWLPSRUWDQWO\WKH editors did not have excessively prescriptive ideas about literature. Thus WKH\ZRXOGJLYHVSDFHIRUXQH[FHSWLRQDOSRHWU\DVZHOODVJHQXLQHO\SRRU HSLJRQLFZULWLQJDQGDORQJZLWKWKDWWKH\ZHUHQRWVK\RISURPRWLQJLQGL- 1 The term PXYDVKVKDKGHQRWHVDVWURSKLFSRHPZKRVHED\WLQLWLDOVZRXOG\LHOGWKHQDPH RIDSHUVRQ7KHRULJLQDOJHQUH¿JXUHGSURPLQHQWO\LQWKHQLQHWHHQWKDQGWZHQWLHWKFHQWXU\ satirical poetry of Turkestan. By extension, the term came to characterise the totality of post-classical lyrics, and carried negative connotations in dominant early Soviet poetic and social discourse. Educating the Poets and Fostering Uzbek Poetry of the 1910s to Early 1930s 185 YLGXDOFUHDWLYLW\DQGLQQRYDWLRQLIWKLVDOORZHGWKHPWRDWWUDFWOLNHPLQGHG ZULWHUVDQGUHDGHUV)URPWKHPLGVWRWKH7XUNHVWDQLDQGWKHQ Uzbekistani press provided ample space for poets to display themselves DQGKDYHWKHLUO\ULFVSXEOLVKHG:KHWKHURUQRWDJLYHQSRHPZRXOGPDNH LWVZD\RQWRWKHSDJHVRIDJLYHQMRXUQDORUQHZVSDSHUGHSHQGHGRQWKH HGLWRUVDQGHGLWRULDOERDUGVZKRGLGQRWKHVLWDWHWRSXEOLFO\UHEXNHVHQG- HUVRISLHFHVWKDWZHUHQRWWRWKHLUOLNLQJ+RZHYHUDVWDWHRIDQDUFK\LQ cultural matters, and the availability of a broad range of mutually indepen- GHQWRUJDQVHQVXUHGWKDWSHRSOHZKRZHUHJHQXLQHO\GHWHUPLQHGWRKDYH WKHLUSRHPVSXEOLVKHGZRXOGVXFFHHGLQGRLQJVR(GLWRUVZRXOGFRQ¿QH WKHLULQSXWDERXWOLWHUDU\TXDOLW\WRJHQHUDOUHPDUNVOLNH³>0LVWHU6XFKDQG VXFK@\RXUSLHFHLVQRWJRRGIRUSXEOLVKLQJ´ZKLOHUHIUDLQLQJIURPFRQFUHWH DGYLFHRQKRZWRDFWXDOO\LPSURYH6XUSULVLQJO\LQVRPHMRXUQDOVWKLVXQ SHGDJRJLFDOPRGHRIµGU\H[KRUWDWLRQ¶SHUVLVWHGZHOOLQWR6RYLHWWLPH2 The press supplied a forum for the poets, but until the mid-1920s did not, as an institution of authority might have done, provide practical sup- SRUWWRZULWHUVQRUGLVFRXUDJHRUIHQGWKHPRII+RZHYHUSHHUWHDFKLQJ OHDUQLQJDPRQJWKHOLWHUDWLWKHPVHOYHVLIZHPD\FDOOLWVXFKGLGH[LVW DQGSDUWRILWKDVFRPHGRZQWRXVWKURXJKWKHSUHVVLWVHOI)HOORZZULWHUV ZRXOGUHDFWWRVSHFL¿FSRHPVLQDSRHWLFIRUPWDNLQJRQPRGHVRIOLWHUDU\ GHEDWHDVSUDFWLFHGLQFRQYHQWLRQDOSRHWV¶FLUFOHVDQGLQWUDGLWLRQDOSRHWU\ LQJHQHUDOIRUH[DPSOHE\ZULWLQJSRHWLFUHVSRQVHVVXFKDVDQD]LUD. In the second half of the 1920s this peer criticism developed into a tool of ideo- ORJLFDOFRQWURYHUV\+RZHYHULWDOVREURXJKWXSLVVXHVRISRHWLFODQJXDJH imagery, stylistics and genre, and thus contributed to the development of individual authors and of Uzbek poetry as such. 3RHWU\ZDVPXFKWRRLPSRUWDQWLQ&HQWUDO$VLDQVRFLHW\IRUDFWLYLVWVLGH- RORJLVWVDQGSROLWLFLDQVWROHWLWOLHIDOORZRUJRXQEULGOHG0DQ\DFWLYLVWV – HYROXWLRQLVWVDVZHOODVUHYROXWLRQDULHV ±ZHUHDWWKHVDPHWLPHOLWHUDWL DQGPRVWRIWKHPZRXOGSULYLOHJHSRHWU\RYHUSURVHLQWKHLUZULWLQJH[HU- FLVHV 7KH\ DJJUHJDWHG DURXQG HGLWRUV DQG MRXUQDOV RU JRW WRJHWKHU LQ informal, self-organised associations similar to the literary circles of olden WLPHV &RQYHUVDWLRQ DERXW O\ULFV PHUJHG ZLWK GHEDWHV RQ SROLWLFDO DQG 2 The pedagogical magazine 0DRULI YD 2¶TLWJ¶XFKL [Education and the Teacher] of all MRXUQDOVLQSXEOLFO\DGPRQLVKHG\RXQJSRHW8\J¶XQWR³FDUHIRUTXDOLW\UDWKHUWKDQ quantity” (Anonymous, 1927a, p. 69). 186 Ingeborg BALDAUF societal issues. During the early 1920s associations of that kind existed in DOOPDMRUWRZQV 7KH FLUFOH ZKLFK KDV FRPH WR EH EHVWNQRZQ ZDV 7DVKNHQWEDVHG &KLJ¶DWR\ *XUXQJL,3LQZKLFKIURPRQZDUGVIRUURXJKO\KDOID GHFDGHPHQIURPDOORYHU7XUNHVWDQDQG%XNKDUDZRXOG JHW WRJHWKHU DQG GLVFXVV ZKDW ODQJXDJH WR SURPRWH IRU WKH VDNH RI PRGHUQLVDWLRQ ZKDW SROLWLFV WR VXSSRUW IRU WKH JRRG RI WKH KRPHODQG DQG QRW OHDVW KRZ WR DFWLYHO\ GHYHORS FXOWXUH LQ JHQHUDO DQG SRHWU\ LQ SDUWLFXODU4 The *XUXQJZDVDQDUHQDIRULQWHOOHFWXDOVOLNHLWVIRXQGLQJIDWKHUWKH IDPRXVVFKRODUDQGZULWHU$EGXUUDXI)LWUDW PHQ ZLWK DQ RXWORRNRQWKHµ2ULHQW¶DWODUJHDQGIDPLOLDUZLWKODWH2WWRPDQ7XUNLVK poets from romanticists to nationalists and social revolutionaries, but also ZLWKWKH%HQJDOLULVLQJVWDU5DELQGUDQDWK7DJRUH DQGRWKHU LQWHUQDWLRQDOO\ UHQRZQHG SRHWV 7KH *XUXQJ also accommodated men ZKRVHPHQWDOKRUL]RQLQOLWHUDWXUHZDVWKHµ5XVVLDQ(DVW¶WKDWLVWKH $]HUEDLMDQL7XUNLVKDQGRU7DWDUDQG5XVVLDQOLWHUDU\XQLYHUVHDQGLWZDV KRPHWRVRPHH[WUDRUGLQDU\PHQOLNHWKHSRHW&KR¶OSRQ DQG WKH \RXQJ FULWLF9DGXG 0DKPXGL\ 5ZKRFRPELQHGWKRVH WZRZRUOGVLQWKHLULQWHUHVWVDQGDPELWLRQV7KH*XUXQJ brought together H[SHULHQFHGOLWHUDWLDQGQHZFRPHUVWRWKHOLWHUDU\¿HOGZKLFKPDGHLWD VHPLQDU\WKDWRQHZD\RUDQRWKHUVKDSHGPRVWRI8]EHNOLWHUDU\OLIHIRUD GHFDGHWRFRPHDOWKRXJKDVDOHJDORUJDQLVDWLRQLWZDVGLVEDQGHGDVHDUO\ DV $OOZRUWKSQRVRXUFHLQGLFDWHG The *XUXQJZDVDERWWRPXSYHQWXUH³DURXQGZKLFKWKHOLWHUDWL TDODP HJDODUL ZRXOG UDOO\´ DV IRUPHU *XUXQJ member Botu (1904-1938) recalled in a critical essay of 1928 (Botu, 1928, pp. 3-4).6 Regardless of 3/LWHUDOO\µ&KDJKDWD\&LUFOH¶DUHXQLRQRIOLWHUDWLZKRFKHULVKHGKRSHVWKDWIRUDIXWXUH OLWHUDU\ ODQJXDJH WKHLU FRQWHPSRUDULHV ZRXOG SULPDULO\ WDS LQWR WKH UHVRXUFHV RI WKH &KDJKDWD\OLQJXDIUDQFDDQGUHYLWDOL]HµSXUH7XUNLF¶YRFDEXODU\VXFKDV*XUXQJ ‘talk, chat, FRQYHUVDWLRQFLUFOH¶ 4 (GZDUG$OOZRUWK LQ KLV SLRQHHULQJ ERRN 8]EHN OLWHUDU\ SROLWLFV (chapter on the *XUXQJ pp. 109 ff.), due to the research conditions of his time, primarily relies on Russian- ODQJXDJHSURDQGDQWL6RYLHWSURSDJDQGLVWVRXUFHVZKLFKPDNHVKLVSLFWXUHRIWKH*XUXQJ DSSHDUPRUHULJLGO\SROLWLFLVHGWKDQWRGD\¶VUHDGLQJZRXOGQHFHVVLWDWH 59DGXG0DKPXGL\IRXQGHGD6DPDUNDQGEUDQFKRIWKH*XUXQJ in 1921 or 1922 (Ahmad, 2008). 6%RWX¶VFKURQLFOHVKRXOGEHUHDGZLWKDJUDLQRIVDOW,QDOOVHQLRUPHPEHUVRIWKH *XUXQJKDGFRPHXQGHUVHYHUHSROLWLFDODWWDFNVRPHRIWKHPZHUHSXWWRWULDO,Q %RWXKLPVHOIJRWLQYROYHGLQWKHVRFDOOHGµ1DUNRPSURVDIIDLU¶DVDFFRPSOLFHLQDQWL6RYLHW Educating the Poets and Fostering Uzbek Poetry of the 1910s to Early 1930s 187 WKHSURJUHVVLYHLGHDOVDOOPHPEHUVVKDUHGWKHJURXSZDVVWLOOPXFKRIDQ old-style intellectual circle characterised by hierarchies of age
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