STUDENTLERDI BIRLESTIRIW: XALÍQARALÍQ IZERTLEWLER HÁM PÁNLER BOYINSHA BIRGE
ISLESIW 1-XALÍQARALÍQ STUDENTLER KONFERENCIYASÍ. NÓKIS, 2025-JÍL 20-21-MAY
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TRADITION AND INNOVATION IN MODERN KAZAKH-KARAKALPAK POETRY
Smamutova Shirin
Associate Professor of
the Department of Kazakh Language and Literature,
KSU, PhD in Philology
Asel Sisenbayeva- 2
nd
year student of
the Department of Kazakh Language and Literature, KSU
Аннотация:
В данной статье рассматривается современная казахско-каракалпакская
поэзия, её развитие и особенности. Автор анализирует присущие поэзии художественные
черты, уделяя внимание соотношению традиций и новаторства в современной казахско-
каракалпакской поэзии. Также даётся характеристика современного состояния и направления
развития данного литературного процесса.
For national poetry, reflecting on past history is a sacred pursuit, equivalent to searching for lost
roots. This theme has never ceased to exist in Kazakh-Karakalpak poetry. Even during the oppressive
eras of Tsarist Russia and the Soviet regime, our poets and writers did not shy away from portraying
the contours and figures of historical memory in their works. This is because the issue is closely tied
to a nation's self-identity and its understanding of its own place and stature. In today's poetry, this
tradition has found new life. Contemporary poems and epics revisit the once-silenced pages of history
and the figures who fell victim to past political repression, offering fresh poetic interpretations and
restoring them to their rightful place. Folk legends and other cultural legacies are now being celebrated
within the broader framework of global civilization and spiritual values. The past is being reevaluated
with new perspectives and insights. When poets turn to historical themes, the melodies of poems and
laments naturally echo in their minds and hearts. To capture the true essence and reality of past eras,
no tune is more fitting than that of the era itself. In Kazakh-Karakalpak poetry, the poetic tradition of
the zhyrau (bards) continues to shine as a vivid example of artistic expression, carrying its spirit from
century to century.
Kazakh scholar B. Ybyrayim highly values this tradition, describing it as “one of the most
significant periods of Kazakh artistic thought.” Tolgaus (didactic poems) are recognized not only as
the pinnacle of Kazakh poetry but also as an authentic reflection of Kazakh history. The poetry of the
zhyraus (bards) is remarkable for its unity of form and content, conveying deep thoughts and ideas
with precision, power, and truthfulness. This distinct quality naturally finds resonance in the work of
modern poets, especially when addressing pressing social issues or significant moments in the nation's
life—almost as if the voices of the zhyraus echo within them. Contemporary poets do not only turn to
historical themes out of nostalgia; they are also inspired by the zhyrau tradition when reflecting on
present values, national identity, and the land. In doing so, they speak with the same emotional depth
and poetic force that characterized the tolgaus. As such, this tradition has become deeply rooted in
Kazakh poetry, continuing to signify profound thought and powerful poetic expression. All poetic
forms created by the people are now being reimagined within modern Kazakh poetry, taking on new
characteristics. The poetic legacy of the zhyraus, considered the finest example of oral literature,
continues to evolve alongside written literature, adapting across generations. Even prominent figures
at the dawn of Kazakh written literature, such as Abai and Shakarim, were influenced by the zhyrau
tradition. Abai’s poem “Sap sap kóńilim” and Shakarim’s “Eski aqyndyq” are known to be based on
the rhythmic and intonational structures of zhyrau poetry. The zhyraus used two main poetic forms.
The more widespread one was structured in seven- to eight-line stanzas, while the other followed a
free-form style composed of lines of varying lengths, forming an irregular rhythm. The first form is
rarely used in modern poetry. When it is used, it typically appears in historical poems aiming to vividly
depict life during the Kazakh Khanate period.
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In contemporary Kazakh-Karakalpak lyric poetry, the concept of plot has begun to take on new
meanings and forms. In the poetry of our modern poets, emotional reflection and intellectual depth
have begun to replace the actions and situations that were characteristic of lyric poetry in the 1960s
and 70s. This evolution allows poets to address multiple themes within a single work. The plot in
lyrical poetry is shedding its schematic structure and acquiring a more enigmatic, subtle, and symbolic
nature.
In some works, there is no clear, linear plot that unfolds before the reader’s eyes. Instead, like an
artistic image, it appears in different forms and meanings depending on individual perception. Each
poet in Kazakh-Karakalpak poetry has developed their own path and unique style in constructing
poetic narratives.
In the poetry of Karakalpak poet Khamid Aymbetov, the plot is often formed through an interplay
of events, thoughts, and feelings. Sometimes, the linearity of the storyline is disrupted, and the
narrative takes an unexpected turn, leading to a surprising and artistic conclusion.
One of his poems, "The Unfired Bullet," presents such a case. In the poem, a thirsty gazelle,
exhausted by the heat of the arid steppe, sets off in search of a spring. Finding a spring in the desert
symbolizes rebirth, a return to life. The gazelle spots the water and, oblivious to everything—including
danger—heads toward it. It fails to notice the hunter lying in wait. The reader is familiar with such a
setup: at this point, the hunter is expected to shoot the gazelle. However, the narrative takes a different,
more introspective direction:
“Having quenched its thirst, it regained its strength,
Rolling joyfully, its fur began to shine.
And then, for some reason,
The hunter’s strong fingers began to tremble.”
What does the poet achieve by choosing such a plot? In my opinion, he seeks to explore and
express the complexity of what it means to be human. A person has the capacity for both good and
evil. One can be a destroyer, yet also a protector.
The hunter, who once claimed, “I don’t crave rabbit meat—I crave the thrill of the hunt,” now
finds himself unable to shoot the gazelle that, having quenched its thirst, is reveling in the joy of life.
In the face of life and beauty, his hand trembles. To us, this represents a well-chosen plot and a well-
conceived idea.
In an untitled poem by K. Karimov, the plot is extremely brief, yet deeply compelling:
Spring.
Bathed in white blossoms,
Beneath the apple tree,
I felt freedom, eternal life,
And the depth of beauty.
At that moment,
An axe struck the lovely tree,
Petals rained into my hair—
Since then, my hair has been white.
The poem consists of only eight lines, yet it speaks volumes. Elements like the apple tree, white
blossoms, beauty, the axe, and white hair form a small but meaningful narrative. However, the poem
is not merely about these objects. Rather, they serve as symbols that convey the poet’s inner
reflections. Behind this storyline lies a sense of sorrow—a protest against the destruction of goodness,
beauty, and acts of kindness. The poem was written to express this very idea. The poet has chosen an
emotionally engaging and impactful plot.
Like the earlier poem, this one also contains an unexpected shift in the flow of thought and
feeling. Such plots help readers truly experience beauty on an emotional level. Or consider the poem
“At the Gate” by B. Genzhemuratov:
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Polite Buttons – without a suit and trousers
Polite Buttons – without a beard, without a mustache
Polite Buttons – the servant of honor,
Polite Buttons – without burns, without fire
“Stay well!” 71
Where is the plot?
Here, there is no listing of events or actions. The idea is conveyed only through thoughts and
emotions, by contrasting them with one another. In this case, the plot is hidden behind the feelings
and thoughts. The title of the poem helps us a lot in identifying the plot, the idea, and the message.
The title is not mentioned anywhere in the poem, but after reading it, you believe that this is the right
title. The feelings of a person standing at the doorway, unsure which of the two opposite worlds to
enter, are beautifully conveyed in the poem. There is no need for an event-driven plot here.
Instead of narrating a sequence of actions in the storyline, the poem introduces us to a new world
of imagination and emotion.
I cannot live without both of you,
One of you deeply stirs me at your doorstep,
The other calls me to a fiery embrace,
Without both of you, I could not laugh,
One of you is freedom without equal… 72
As we see in this poem by N. Töreshova, there is no clear event taking place. That’s why the plot
doesn’t stand out immediately. It can only be sensed, and through that sense, the plot is formed in the
reader’s mind. However, it might be different for everyone, as it depends on each person’s inner
feelings.
In recent years, if we summarize the issue of plot creation in Kazakh-Karakalpak lyric poetry:
Firstly, the absence of a clearly structured sequence of events or actions in a poem leads to its
brevity and conciseness. For many of our poets, it has become characteristic to express their message
in just two or three stanzas. This is one of the main features of lyric poetry.
Secondly, when a poem includes numerous events, it becomes closer in nature to an epic work.
However, the delicacy and beauty of lyric poetry, which is based on thoughts and emotions, becomes
more pronounced, enhancing the aesthetic impact on the reader.
Thirdly, having a clearly visible plot in a lyrical work is not a necessity. It can create a sense of
roughness in the reader’s perception. Moreover, in lyrical poetry, the plot is used by the poet as a
means to express their thoughts, opinions, and ideals. That is, unlike in epic works, it does not serve
as a fundamental component of the structure.
In conclusion, modern poetry, while taking guidance from long-standing literary traditions, has
also introduced new formal elements and demonstrated innovation through unique exploration and
individual style.
However, this does not mean that poetry has completely freed itself from plot-based narratives
or sequences of events. There are still poets who prefer this kind of lyricism and write poems with
eventful plots.
References
1. Akhmetov, Z. The Theory of Poetic Language. Almaty: Zhazushy, 1973. p. 207.
2. Egeubaev, A. The System of Words. Almaty, 1985.
3. Dospanov, S. Qazyna. Almaty: Zhazushy. p. 232.
4. Karybayeva, B. The Poetics of Contemporary Kazakh Lyric Poetry. Almaty: Zhazushy, 1988.
