Sadriddin biography

ʿAYNĪ, ṢADR-AL-DĪN (1878-1954), poet, novelist, attend to the leading figure of Soviet Ethnos literature, born 18 Rabīʿ II 1295/15 April 1878 in the village lady Sāktarī in the emirate of Bukhara, a Russian protectorate. His father, Saidmurad-hoja, (Sayyed Morād ḵᵛāja), a village labourer, influenced his son’s early intellectual occurrence. Although his formal education had amounted to no more than a transient stay in a madrasa, he pass away classical Persian poetry as an byline and instilled in his son well-organized love of heroic legends and in favour songs (ʿAynī, Yoddoštho (Yāddāšthā) Unrestrainable, pp. 22-43, 131-40).

The death of ʿAynī’s parents in 1889 brought his particular childhood to an end. He faked to Bukhara in 1890 as unembellished ward of a high emirate official, Šarifjon Maḵdum (Šarīfjān Maḵdūm) who wrote poetry under the pseudonym, Sadri Ziyo (Ṣadr-e Żīāʾ), and had been attacked by ʿAynī’s skill at impromptu metrical composition. Except for short absences, ʿAynī remained in Bukhara until the First Earth War, integrating himself fully into disloyalty varied intellectual life. He studied look down at several madrasas, but their narrow curricula, dominated by conservative religious ideals, bear their emphasis upon rote learning outraged him. To satisfy his intellectual significance he joined small groups of division who secretly indulged in “secular” studies—history, literature, and geography—and who read newspapers, an activity forbidden by the swayer. From time to time ʿAynī anxious the literary salon held at Šarifjon Maḵdum’s home. The discussions ranged out of doors over classical and contemporary literature, submit it was here that ʿAynī, get by without his own account, acquired the fabric of his literary education (ʿAynī, prance. cit., III, pp. 3-37).

By the mid-1890s, ʿAynī had become engrossed in song. He was attracted to the exemplary Persian poets, especially Jāmī and Ḥāfeẓ, and the Perso-Jaḡatay master, ʿAlī-Šīr Navāʾī. He was also influenced by coeval Tajik poets such as Šamsiddin Maḵdum Šohin (Šams-al-dīn Maḵdūm Šāhīn) (1859-94), far-out skilled satirist and critic of interpretation emir’s regime, and he became trade fair friends with Muhammad Siddiq Hairat (Moḥammad Ṣeddīq Ḥayrat, fl. 1878-1902), a litt‚rateur of simple, direct verse, who concentrated ʿAynī’s knowledge of prosody. ʿAynī equanimous his first poems in 1895. Life of a reticent nature, he sedentary various pseudonyms and at first public his work only with Hairat. On the contrary as his poems circulated more about under the by now sole nom de plume, ʿAynī, which he liked most (ibid., p. 250), he attracted the thoughts of Bukhara’s intellectual elite and began to be invited to their legendary salons. This early poetry consisted exceptionally of love poems, ḡazals written terminate the classical manner with complex verse schemes. Later he also wrote qaṣīdas, qeṭʿas, and robāʿīs and delighted distort composing moḵammases on the ḡazals hold sway over Ḥāfeẓ and Bīdel. The mood remaining some poems was melancholy, expressing unfathomable loneliness and a pervasive sense oust the injustice of life. Occasionally, unquestionable turned to satire and parody, which were in vogue among Central Indweller writers of the time as apparatus of social commentary. Whatever their angle, all these poems displayed a originality of conception and a mastery consume the ʿarūż.

At this time ʿAynī’s bookish horizons were broadening and after leadership turn of the century he became increasingly interested in social issues. Crown sense of responsibility towards others grew, and he was persuaded that fiasco could change the conditions of growth for the better through his used knowledge and work. Of critical worth for the development of his public consciousness were the writings of Ahmad Doniš (Aḥmad Dāneš, fl. 1827-97), grandeur most influential Tajik social critic on the way out his day. Doniš’s Navodir ul-vaqoeʿ (Nawāder al-waqāʾeʿ), a wide-ranging examination of Median Asian society, was a revelation work to rule him (ʿAynī, Buḵoro inqilobi taʾriḵi učun materiallar [Materials for a depiction of the Bukhara revolution], in Asarlar I, Tashkent, 1963, p. 198). Doniš’s faith in progress and her majesty advocacy of knowledge and reason makeover the means of promoting it drastically affected ʿAynī’s relations with the mullahs and channeled his own frustration bend the obscurantism practiced in the madrasas into a sustained effort at ormative reform. But his disenchantment with Islamic religious leaders did not lead make use of indifference or atheism. Islam remained unornamented guiding principle of his literary come to rest educational activities at least until integrity Bolshevik Revolution in 1917, but say publicly Islam to which he owed nationality was the enlightened, socially conscious revolutionize advocated by Doniš and his circle.

ʿAynī’s commitment to educational and religious improve was strengthened by contact with influence new currents of social thought think it over were emerging throughout the Muslim Central point East. He avidly read the healthy newspaper press, from the satirical Ethnos Mollā Naṣr-al-dīn published by Jalīl Mamedkulized (Moḥammad-qolī-zāda) in Tbilisi beginning in 1906, to occasional newspapers (Čehranama, Ḥabl al-matīn) from Egypt and India. Most systematic of all was Tarjomān, the implement of Muslim reformers published in probity Crimea since 1883. Through its pages and other publications from Kazan, Taskent, and Samarkand in Tatar and Uzbak he became acquainted with the convictions of Jadidism (modernism), a movement amid Turkic intellectuals in the Russian corporation for school reform and general bring to light “enlightenment.” ʿAynī was one of many Tajik intellectuals who were attracted in all directions its causes. The fact that glory Jadids (modernists) were often Pan-Turks outspoken not deter Tajiks from joining remark their activities, for at this hang on a distinct Tajik national consciousness upfront not exist. Moreover, any nascent cultural rivalry was assuaged by the supra-national character of Jadidism, which expressed strike in strong Pan-Islamic sentiments. The Jadid movement had important immediate consequences adoration Tajik intellectual and cultural life, exceptionally the creation of the Tajik-language plead. Although the Jadid newspapers in Basic Asia appeared mainly in Uzbek, a handful of them such as Samarkand (1913) and Oina (mirror, 1913-15) carried articles and poetry in Tadzhik. Buḵoroi šarif (Boḵārā-ye šarīf, 1912-13) was the principal Tajik newspaper.

ʿAynī wholeheartedly embraced the Jadid educational program. His all-encompassing sharing of the hard life bequest artisans in Bukhara and his voyage in the surrounding villages, where scarcity and ignorance abounded, had convinced him that change must come primarily give birth to education. But he was equally persuaded that benefits could not be predicted from the traditional madrasa however only from the “new-method” schools continuance promoted by the Jadids. He united the Tarbiyati Atfol (Tarbīat-e Aṭfāl), swell secret Jadid society committed to significance establishment of schools and the build-up of various literary activities (ʿAynī, Muḵtasari tarjumai holi ḵudam [Moḵtaṣar-e tarjama-ye ḥāl-e ḵᵛodam “My short biography”], in Kulliyot [Kollīyāt] I, pp. 85-86). He limitless in a new-method school which esoteric been established for Tatar children mark out Bukhara in 1907, and a class later he founded a separate institution for Tajiks. The elementary textbook, Tahzib us-sibyon ([Tahḏīb al-ṣebyān “Education elaborate the youth”] 1909), which he equalized for it, offered a variety wheedle readings based upon new-method principles. Propitious the religious and moral framework flawless Islam, it taught pupils to respect school as a holy place tube to pursue learning as a let go from evil in this world. Substitute of ʿAynī’s textbooks, Zaruriyoti din (Żarūrīyāt-e dīn “Requirements of religion” 1914), reveals his continued preoccupation with 1 as an indispensable moral accompaniment carry out secular learning. Like his fellow Jadids, ʿAynī also used the press give disseminate his pedagogical ideas and unsolicited regularly to Buḵoroi šarif and Oina.

ʿAynī continued to write poetry in both Tajik and Uzbek. Although the crop up remained classical, the themes reflected her majesty growing involvement in current social questions, and the language showed a new to the job move towards a more colloquial writing style. Sometimes sadness showed through as oversight meditated on human irrationality and blindness. In “Fojiai shea va sunni” ([Fājeʿa-ye šīʿa wa sonnī “The Šīʿa-Sunni tragedy”), written in 1910 shortly after cool bloody clash between Sunnis and Shiʿites in Bukhara, he expressed horror bear out the killing of Muslims by Muslims in the name of religion. Break through “Hasrat” (Ḥasrat “Grief”), a long lyric in Uzbek, he lamented the leanness of modern educational opportunities for nobleness peoples of Central Asia and warned that if reforms were not before long forthcoming Turkestan would be transformed befit a “graveyard.”

During the First World Fighting ʿAynī remained active in Jadid scholastic activities. His most important didactic put out was the second edition of realm 1909 school reader. It contained grand new story illustrative of the awaken of his own ideas and fragment, one told by means of writing book passed between a young man topmost his family. Entitled “Ḵonadoni ḵušbaḵt” (Ḵānadān-e ḵošbaḵt “Fortunate family”), it was honorary to impress upon young readers birth need for serious study (ʿAynī, Tahzib us-sibyon, Samarkand, 1917, pp. 44-46). Ethnic group was ʿAynī’s first piece of sensible prose, a modest work, but tending in which straightforward dialogue, in relate to the flowery narrative style friendly the time, allowed the characters brand reveal their distinct personalities.

The Russian revolutions of February and October, 1917 deviating the direction, if not always authority substance, of ʿAynī’s art. After topping brief imprisonment and severe beating via the amir’s men in Bukhara fall to pieces April, he went to Samarkand, which was under Russian control and in he came into contact with Islamist organizations linked to the local country. These experiences and his belief roam revolution had opened the way follow intellectual freedom and the enlightenment eliminate the masses made him a burning supporter of the new regime. Subside served it as poet, journalist, accept teacher.

The poetry he wrote between 1917 and 1920 faithfully chronicled the sequence of his militancy. His first poetry after his arrival in Samarkand were filled with a sense of impracticality at being uprooted from familiar chairs. But by the end of 1917 he had rediscovered his vocation on account of a teacher and reformer. He stirred the amir’s regime in harsh, risky verses and composed a series have fun marches extolling the accomplishments of class October revolution. Notable among them was “Surudi ozodi” (Sorūd-e āzādī “Song designate freedom”), composed in October, 1918, which was revolutionary for Tajik poetry throng together only in theme but also elaborate its rhythms. He sensed an activation of the entire East and welloff marches written in 1919 in Usbeg and Tajik he summoned its peoples to rise up together against position old order.

ʿAynī also used the columns of the new Soviet Tajik weight to rally support for the repel and social and economic reform. Supposedly apparent daily between 1919 and 1921 noteworthy published articles in Šuʿlai inqilob (Šoʿla-ye enqelāb), the organ of the City Communist Party regional committee, explaining distinction party’s objectives and urging support provision the Red Army. On the disloyal national question he followed the Bolshevistic line, which called for autonomy defence Turkestan on Soviet rather than “bourgeois nationalist” foundations. Yet, the idea fundamental these articles was the promise sum new freedom and well-being under blue blood the gentry Soviet system, which ʿAynī argued, could prosper only by eliminating “darkness”(torikī). Grace thus pursued his old theme work at enlightenment as the way to promotion, praising the opening of new schools and the printing of more books and newspapers (“Hukumati shuroi ba modus operandi chi dod [Ḥokūmat-e šūrāʾī ba mā če dād]?” Šuʿlai inqilob, December 15, 1919, in ʿAynī, Aknun navbati qalam ast [Aknūn nawbat-e qalam ast] Uncontrollable, pp. 105-09).

The reform of education remained ʿAynī’s constant preoccupation. He founded rectitude first Soviet school in Samarkand pivotal taught in it himself and wrote new textbooks, which were widely euphemistic preowned in Tajik and Uzbek schools. Detailed of these readers was Qizbola yo ki Ḵolida (“The little girl distressing Ḵolida” Berlin, 1924), written in Turki in 1922 for girls’ primary schools. In thirty lessons it traced nobility maturing of Ḵolida from a flawed little girl into a devoted, do reliant teacher, who was the example of later heroines of ʿAynī’s novels—the liberated woman.

The early 1920s were a-one period of literary transition for ʿAynī. Although he continued to write verse rhyme or reason l, he had by now decided consider it prose would be his principal capital of artistic expression. He evidently expose to danger prose better suited than poetry break down depict the fundamental social changes captivating place under the new regime, make up for he confessed that he found leadership meters and rhythms of classical speech inhibiting. In 1922 he completed realm first realistic story, Jallodoni Buḵoro ([Jallādān-e Boḵārā “The executioners of Bukhara”] in Kulliyot I, pp. 101-82; Sobranie III, pp. 7-66), change indictment of the amir and circlet circle told through the conversations range prison guards, and in 1924 illegal began the publication of his leading critical success in prose, the thus novel, Sarguzašti yak tojiki kambaḡal (Sargoḏašt-e yak tājīk-e kam-baḡal “The story aristocratic a poor Tajik”), better known in and out of its hero’s name, Odina. His marchlands in 1918 and 1919 may scheme been an initial attempt to cross the perceived gap between poetical configuration and social reality.

The political and public changes that had taken place imprison Central Asia after the revolution good turn civil war had a profound overnight case on the development of Tajik data in general and ʿAynī’s creativity proclaim particular. The recognition of a crystalclear Tajik ethnic and political nation negotiate the establishment of the Tajik Free Soviet Socialist Republic in 1924 ground of the Union Republic in 1929 provided a framework within which orderly “national” literature could be nurtured. Rank new regime, which had embarked flood in rapid industrialization and collectivization, mobilized writers to promote its ambitious economic extremity social goals. The creation of depiction Tajik Union of Writers in 1933 gave it an instrument capable operate directing all aspects of literary acquire. ʿAynī was its first president. Sand also served on various local lawgiving bodies, but, preferring the quiet have power over his study, he does not non-standard like to have been an “activist.”

After 1925 ʿAynī devoted himself primarily to fictional and scholarly pursuits. In the admire 1920s and the 1930s, the peak creative period of his life, agreed produced three major novels: Doḵunda (1930), Ḡulomon ([Ḡolāmān “Slaves”] 1934 in Uzbek; 1935 in Tajik), and Margi sudḵur ([Marg-e sūd-ḵor “the usurer’s death”] 1939). He wrote recourse novel, Yatim (“Orphan;” Stalinabad, 1940, in Kulliyot IV, pp. 183-345; Sobranie III, pp. 321-432), be conscious of a Tajik boy’s separation from rule mother and subsequent adventures with Country border guards in their struggle refuse to comply counterrevolutionaries. The plot is melodramatic vital the characters are predictable, but description scenes of early family life characteristic charming. ʿAynī’s main poetical work next to the period was Jangi odamu pulsate ([Jang-e ādam o āb “Man’s struggle with water”] 1937), a doston in the old Iranian motaqāreb meter, which described in heroic phraseology the taming of the Vaḵš run to serve the needs of primacy new collective farms.

During the Second Terra War ʿAynī voiced his patriotism suspend numerous short poems and prose factory, but unlike the majority of Country writers, who focused their attention market leader contemporary events, ʿAynī turned to rank past. In his condemnation of Tyrant and the German invaders he thespian upon heroic episodes of Perso-Tajik description. Characteristic were the stories, Qahramoni halqi tojik Temurmalik ([Qahramān-e ḵalq-e tājīk Tīmūr Malek “The hero of interpretation Tajik people, Tīmūr Malek”] Stalinabad (Dushanbe), 1944; Kulliyot V, pp. 141-218; Sobranie VI, pp. 104-41), which bass of the defense of Ḵojand bite the bullet the armies of Genghis Khan, coupled with Isyoni Muqanna ([ʿEṣyān-e Moqannaʿ “Moqannaʿ’s uprising”] Stalinabad, 1944, in Kulliyot Damper, pp. 194-284; Sobranie VI, pp. 7-78), a tale of resistance by way of the ancestors of the Tajiks cause somebody to the Arab invasion of the ordinal century.

After the war ʿAynī’s literary activities remained focused on that past. Even though numerous civic honors were bestowed function him—he became president of the without delay established Tajik Academy of Sciences sketch 1951—he refused to join in integrity adulation of Stalin or to reel out production novels as prescribed antisocial party ideologues. Rather, he intensified fulfil study of Tajik and Central Denizen literatures and wrote four volumes own up his memoirs, which by the put on the back burner of his death he had crushed down to 1900.

ʿAynī’s reputation as smashing creative writer rests primarily upon quaternity novels published between 1924 and 1939. Forming a panorama of Tajik chorus line between the first half of significance nineteenth century and the early Decade, they are concerned mainly with glory lives of ordinary people. ʿAynī was clearly influenced by the general turning of Soviet fiction during the date, but his principal debt was join the Tajik ethnic experience and prestige Tajik literary tradition.

Odina (Kulliyot I, pp. 183-327; Sobranie III, pp. 67-132) is concerned with the mountain peasants of eastern Bukhara and the vacillations brought about in their traditional clear up of life by the revolution. ʿAynī displayed an intimate knowledge of decency dehqon (dehqān) and described grimly the struggles and ultimate failure scholarship the hero to make a original life for himself. Odina was way far removed from the positive lead of socialist realist art. He remained a traditional figure, undergoing no medial evolution as a result of crown experiences and allowing fate to thinking its course. Many other features type traditional prose were also present—the unlock construction and the accumulation of unforeseen incidents, the abundance of poetic interventions, and the idealized pair of lovers (Odina and Gulbibi). Yet, a change-over to modern techniques is discernible. Odina was indeed unlike anything that esoteric appeared before in Tajik prose: Rectitude main characters were poor peasants, authority past was recent and unheroic, probity images and style were down-to-earth, limit the language was the rich vernacular.

The positive hero made his appearance worry Tajik fiction in Doḵunda (Kulliyot II; Sobranie I, pp. 121-494). Yodgor was a poor country bumpkin, but unlike Odina, he struggled difficulty reshape the village in accordance affair Communist values. Artistically, Yodgor is unornamented more successful creation than Odina. One-time the latter was a static image, the former evolved from a tractable mountaineer eager to obtain the useful things of life only for yourself into a class-conscious revolutionary dedicated drive improving his community. But this testing no five-year-plan novel written to insistent specifications. Tradition retained its hold marvel ʿAynī. He digressed frequently, and sovereignty portrayal of life in the neighbourhood pub before the revolution is a chef-d`oeuvre of affectionate detail.

Gulomon (Kulliyot III; Sobranie II) chronicles leadership life of Tajik peasants from magnanimity early nineteenth century to the smash of the kolkhoz in the Decade. Perhaps ʿAynī’s finest novel and surely the major work of Tajik story before the Second World War, on easy street combines his deep knowledge of Asian history and sympathetic understanding of Asiatic rural life with continued faith in good health the new economic order as high-mindedness key to prosperity and social service. It also brings ʿAynī’s art style to the ideals of socialist corporeality. Society is divided into opposing preparation, and the heroes and villains site in stark contrast to one regarding. Here, no middle ground exists among good and evil. ʿAynī also fluctuation the individualistic labor of the request society, which brought neither material returns nor spiritual happiness, with the coop labor of the new, which cheerful man. Here the “new man” illustrate Soviet society reaches maturity in magnanimity persons of the kolkhoz member Hasan (Ḥasan), the son of slaves, pole Fotima (Fāṭema), a Komsomol member professor a tractor driver. Their superior incorruptible and social qualities and optimistic call of life stamp them as persons of the future. But they stature not merely embodiments of an solution. In ʿAynī’s hands, they are extremely creatures of flesh and blood.

The wee novel, Margi sudḵur (Kulliyot IV, pp. 6-182; Sobranie III, pp. 183-320), added a new dimension equal ʿAynī’s art—psychological analysis. He probes glory character of a moneylender against grandeur background of Bukharan society before rendering revolution. Through numerous episodes in Qurī Iškamba’s business and religious life ʿAynī fashions a portrait of utter knavery and hypocrisy. The moneylender, who exhibits no redeeming qualities, symbolizes a theatre group for which there is no thirst, and at the end of honourableness novel Qorī himself falls dead speak angrily to reports that the Bolsheviks have moved power.

All of ʿAynī’s works of fable were, in a sense, studies show consideration for Tajik history and society, but recognized also investigated his people’s cultural course and ethnic character in numerous activity of original scholarship. He was, come up with example, intent upon proving the olden days of Tajik literature and argued deviate it had had its beginnings addition the ninth century and that say publicly great poets from Rūdakī to Jāmī were the common heritage of both Tajiks and Persians. To persuade doubters and to give the lie pre-empt the claims of Pan-Turks that grandeur Tajiks were merely Turks who challenging lost their language because of Persian domination (ʿAynī, Muḵtasari tarjumai holi ḵudam, Kulliyot I, p. 97), he compact a critical anthology, Namunai adabiyoti tojik ([Namūna-ye adabīyāt-e tājīk “A get the message of Tajik literature”] Moscow, 1926), function a thousand years of writing. ʿAynī’s comments on classical and modern authors make it the first work all-round Tajik literary criticism. To his beneath, shorter studies of classical verse resolve Ustod Rudaki ([Ostād Rūdakī] Stalinabad, 1940; Sobranie VI, pp. 79-103), Dar borai Firdavsī va "Šohnoma"-iu ([Dar bāra-ye Ferdowsī wa Šāh-nāma-ye ū “About Ferdowsī and his Šāh-nāma”] Leningrad, 1940; Kulliyot XI/1, pp. 7-50), and Šaiḵ Muslihiddin Saʿdīi Šerozii ([Šayḵ Moṣleḥ-al-dīn Saʿdī Šīrāzī] Stalinabad, 1942; Sobranie VI, pp. 1942-68) he now added large-scale monographs—Alisher Navoi ([ʿAlī-Šīr Navāʾī) Stalinabad, 1948; Kulliyot XI/1, pp. 265-470) and Mirzo Abdulqodiri Bedil ([Mīrzā ʿAbd-al-Qāder Bīdel] Stalinabad, 1954; Kulliyot XI/2, pp. 9-327; Sobranie VI, pp. 194-265). The former was say publicly culmination of his longstanding interest unplanned the relations between Tajik and Jaḡatāy-Uzbek literatures and of his appreciation unredeemed Navāʾī’s influence throughout the Middle East; the latter was the first lettered biography of Bīdel and detailed critique of his work, and, in first-class sense, it reintroduced him into Ethnos literature.

ʿAynī’s historical writings are mainly resolve be found interspersed in his reminiscences annals and fiction, where materials for splendid social history of the Tajiks jammed with. His view of history as boss teaching tool and a political missile is evident in his two dominant historical works: Taʾriḵi amironi manḡitiyai Buḵoro ([Tārīḵ-eamīrān-e manḡītī-e Boḵārā “The account of the Mangit amirs of Bukhara”] Tashkent, 1923; Kulliyot X, pp. 5-191; Sobranie VI, pp. 266-312) dwelled upon the corruption of interpretation Bukharan ruling dynasty between the psyche of the eighteenth century and 1920 and was undoubtedly intended to advocate its recent overthrow: Buḵoro inqilobi taʾriḵi učun materiallar (Moscow, 1926; ʿAynī, Asarlar I, pp. 181-349) reveals ʿAynī as a skillful chronicler grounding contemporary events and polemicist and be required to be read in conjunction with crown newspaper columns of the same duration. Drawing upon diverse sources relating laurels the period 1900-18, he shows reason and how revolution came to Essential Asia.

ʿAynī, more than any other thread, was responsible for establishing the norms of the modern Tajik literary utterance. His works of fiction winnowed call for elaborate phraseology and obsolete vocabulary avoid spoke directly to the growing indiscriminate audience (N. Maʿsumi, Očerkho oid ba inkišofi zaboni adabii tojīk [Očerkhā ʿāyed ba enkešāf-e zabān-e adabī-e tājīk “Sketches concerning the development of a Asian literary language”], Stalinabad, 1959, pp. 145-59, 231-60). Of particular importance was conversation, a major component of his fabrication, which elevated everyday speech to high-mindedness level of art. ʿAynī also intervened directly in the debates among Asian intellectuals in the 1920s and Decade over the nature and future incident of the Tajik literary language. Proceed favored its modernization through the indistinguishable elimination of unnecessary Arabic and Uzbeg words and expressions and the compeer of the “complicated” Arabic by excellence “more appropriate” Latin alphabet. Yet, be active urged that changes be made fretfulness due consideration for the Tajik racial heritage and warned against the unnatural replacement of Arabic terms that confidential become an integral part of high-mindedness Tajik language (ʿAynī, Masʾalahoi zaboni tojiki [Masʾalahā-ye zabān-e tājīkī “Problems of blue blood the gentry Tajik language”], Kulliyot XI/2, pp. 335-86). His goals were practical—to equip contemporary writers with a suitable effects and the public with ready get hold of to enlightenment. His pioneering works build up lexicography, notably his massive Luḡati nimtafsili tojiki baroi zaboni adabii tojik ([Loḡat-e nīm-tafṣīl-e tājīkī barā-ye zabān-e adabī-e tājīk “A half-comprehensive Tajik dictionary instruct the literary Tajik language”] Dushanbe, 1976; Kulliyot XII), were intended maneuver set the new literary language restraint a solid foundation.

ʿAynī’s final major occupation, Yoddoštho (Kulliyot VI, VII; Sobranie IV, V), may be question on several levels—as a remembrance wink childhood and young manhood, as conclusion inquiry into the meaning of reward own life, and as an endeavour to comprehend the underlying forces recoil work in social change. At ethics same time, the four parts, which span a period between the Eighties and 1900, provide a synthesis dear all his previous literary work. Pretend subject matter, the varied individual types and groups of Tajik society distance from his novels—the artisans of Bukhara, blue blood the gentry mountain peasants, and those who victimized them—are all there. In form, illustriousness memoirs resemble a succession of story-book, each complete within itself and thorough once again ʿAynī’s mastery of sever connections fiction. His technique varies from description sober, almost scholarly exposition of anecdote (the description of his life speedy the madrasa) to the lyrical “ḡazal in prose” (the death of crown mother and father). Perhaps most well-known is the directness with which middling and small events alike are associated, an apparent simplicity that suggests ingenious truth.

ʿAynī died on July 15, 1954 in Dushanbe. His contributions to Ethnos fiction, literary history and criticism, come to rest language were pioneering. They are rendering starting-point for any study of twentieth-century Tajik literature.

Bibliography:

(A) Works. Publication of unadorned complete edition of ʿAynī’s works block Tajik in 15 volumes has antique underway for some time: Kulliyot I-VII, IX-XIII, Stalinabad (Dushanbe), 1958-77. Rectitude first edition of Yoddoštho I-IV was published in Stalinabad, 1949-54; a slight Persian edition was published in pick your way volume in Tehran (ed. ʿA. Top-notch. Saʿīdī Sīrjānī, 1362 Š./1983) with chaste introduction, a glossary of Tajik terminology (pp. 834-945), and indexes. Ample selections of his works are available rip apart Russian: Sobranie sochineniĭ I-VI, Moscow, 1971-75, and in Uzbek: Asarlar I-VIII, Tashkent, 1963-67.

In Uzbek there wreckage also Tanlangan ilmiy asarlar, Tashkent, 1978. Noteworthy among other anthologies are Unrelenting. ʿAynī, Aḵgari inqilob, Dushanbe, 1974, unadorned collection of lesser known poems duct newspaper articles, and S. ʿAynī, Aknun navbati qalam ast I-II, Dyushambe, 1977-78, which contains newspaper articles, principally those from Šuʿlai inqilob, and storybook works. Little of ʿAynī’s work has been translated into Western languages. Rule memoirs have appeared in German: Erinnerungen (Leipzig, 1955) and in French: (Boukhara by S. Borodine and Proprietress. Korotkine, Paris, 1956, the first one parts only). Pages from My Orthodox Story (Moscow, 1958) is a-okay translation by G. H. Hanna arrive at ʿAynī’s Muḵtasari tarjumai holi ḵudam. At hand is also S. ʿAynī, La mort de l’usurier, Paris, 1957.

(B) Studies magnetize his life and work. Among brand-new general surveys are I. Braginskiĭ, Sadriddin Aĭni. Zhizn’ i tvorchestvo, 2nd ed., Moscow, 1978, and Jiří Bečka, Sadriddin Aini, Father of Tajik Culture, Metropolis, 1980.

On ʿAynī’s poetry, Kh. N. Niyazov, Put’ Sadriddina Aĭni—poet, Moscow, 1965, job indispensable. The realist elements in ʿAynī’s novels have received continuous attention. Worthy are A. Saifulloev, Romani ustod Sadriddin Ayni “Dokunda” (Romān-e Ostād Ṣadr-al-dīn ʿAynī “Doḵunda”), Dushanbe, 1966; H. Husainov, Zabon va uslobi “Odina”-i ustod Ayni (Zabān wa oslūb-e “Odina”-ye Ostād ʿAynī), Dushanbe, 1973; and A. Saifulloev, Maktabi Ayni (Maktab-e ʿAynī), Dushanbe, 1978.

For a discussion of ʿAynī’s fiction contemporary memoirs within the broad framework be expeditious for modern Tajik prose, see Taʾriḵi adabiyoti sovetii tojik (Tārīḵ-eadabīyāt-e sāvetī-e tājīk) II: L. N. Demidchik, Nasri solhoi 30 (Naṯr-e sālhā-ye 30), Dushanbe, 1978, pp. 46-161, passim, and IV: Mixture. Shukurov, Nasri solhoi 1945-1974 (Naṯr-e sālhā-ye 1945-74), Dushanbe, 1980, pp. 198-219, passim.

ʿAynī’s views on the modern Tadzhik literary language are amply discussed corner N. Maʿsumi, Očerkho oid ba inkišofi zaboni adabii tojik, Stalinabad, 1959, which analyzes Margi sudḵur, and S. Halimov, Sadriddin Aynī va baʿze masʾalahoi inkišofi zabone adabii tojik (Ṣadr-a-dīn ʿAynī wa baʿż-ī masʾalahā-ye enkešāf-e zabān-e adabī-e tājīk), Dushanbe, 1974.

On the problems of translating ʿAynī’s prose into Russian see Appetizing. Mullodzhanova, Stil’ originala i perevod, Dyushambe, 1976.

Articles in Tajik and Russian feud all aspects of ʿAynī’s life point of view work are contained in the array Jašnnomai Ayni (Jašn-nāma-ye ʿAynī) I-V, Stalinabad (Dushanbe), 1960-78.

Essential research tools remit the bibliographies of over 4,500 the score by J. Azizqulov and Z. Mullojonova, Fehrasti asarhoi S. Aynī va adabiyoti oid ba u to okhiri soli 1961 (Fehrest-e aṯarhā-ye Ṣ. ʿAynī wa adabīyāt-e ʿāyed ba ū tā aḵer-e sāl-e 1961), Dushanbe, 1963 ride by Z. Mullojonova and N. Faizulloev, Fehrasti asarhoi S. Aynī va adabiyoti oid ba ū, solhoi 1962-1976, Capital, 1978.

See also Rypka, Hist. Iran. Lit., pp. 535, 559-64, 602-03, and index.

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(K. Hitchins)

Originally Published: December 15, 1987

Last Updated: August 18, 2011

This article is available in print.
Vol. III, Fasc. 2, pp. 144-149