The legendary life and courageous death of Musa Jalil.
The legendary poet Musa Jalil is a truly outstanding, talented writer known throughout Russia. His work is the basis for modern youth who are brought up on the basis of patriotism.
Musa Mustafovich Zalilov (known as Musa Jalil) was born on February 2, 1906 in the small village of Mustafino, in the Orenburg region into a poor family of Mustafa and Rakhima Zalilov. Musa was the sixth child in the Zalilov family with many children, so his craving for work and respect for the older generation manifested itself with early years... At the same time, the love of learning was manifested. He studied very diligently, loved poetry and expressed his thoughts with unusual beauty. The parents decided to send the young poet to the Khusainiya madrasah in the city of Orenburg. There Musa Jalil's talent was finally revealed. He easily studied all subjects in the madrasah, but literature, drawing, and singing were especially easy for him.
At the age of thirteen, Musa joins the Komsomol, and after the end of the civil war, he creates many pioneer groups, in which he easily promotes the ideological spirit of the pioneers through his poems. A little later, Musa Jalil becomes a member of the Bureau of the Tatar-Bashkir section of the Central Committee of the Komsomol, after which he gets unique opportunity go to Moscow and enter the Moscow State University... In 1927, Musa Jalil entered the ethnological faculty of Moscow State University (hereinafter referred to as the writing faculty), entering the literary department. Throughout his studies, Musa wrote very interesting poems, participated in poetry evenings, and in 1931 the poet graduated from the university. After graduating from university, Jalil works as editor of a Tatar-language magazine for children.
In 1932, Jalil moved to the city of Serov and worked there on many new works, based on which operas by the famous composer Zhiganov were written. Among such operas are "Altyn Chech" and "Ildar".
After a while Musa Jalil returns to Moscow again, where he connects his life with the newspaper "Kommunist". This is how the war period of his work begins, which is certainly associated with the Great Patriotic War. In the first six months of his stay in the ranks of the army, the poet was sent to the city of Menzelinsk, where he received the title of senior political instructor and easily entered the active line of the Leningrad front, and after that the Volkhov front. In the midst of armed offensives, shelling and heroic deeds, the poet in parallel collects materials for the newspaper "Courage". In 1942, near the village of Myasnoy Bor, Musa Jalil was wounded and captured by the enemy. There, despite the difficult situation, the terrible attitude of the enemy towards people, humiliation, the Tatar poet finds the strength to preserve his patriotic principles. In the German camp, the poet will come up with a false name - Musa Gumerov, thereby deceiving the enemy. But he does not succeed in deceiving his fans, even in enemy territory, in the camp of the fascists, they recognize him. Musa Jalil was imprisoned in Moabit, Spandau, Pletzensee, and in Poland near the city of Radom. In a camp near the city of Radom, the poet decides to organize an underground organization against the enemy, propagandizes the victory of the Soviet people, writes poems on this topic and short slogans. And then an escape from the enemy camp was organized.
The Nazis proposed a plan for the prisoners, the Germans hoped that the peoples living in the Volga region would rebel against the Soviet regime. It was calculated that the Tatar nation, the Bashkir nation, the Mordovian nation, the Chuvash nation would form a nationalist detachment "Idel-Ural" and form a wave of negativity against the Soviet regime. Musa Jalil agreed to such an adventure in order to deceive the fascists. Jalil created a specialized underground detachment, which later went against the Germans. After this alignment, the Nazis abandoned this unsuccessful idea. The months spent by the Tatar poet in the Spandau Concentration Camp turned out to be fatal. Someone reported that an escape from the camp in which Musa was the organizer was being prepared. He was locked up in solitary confinement, tortured for a long time, tortured, and then sentenced to death. On August 25, 1944, a famous Tatar poet was murdered in Pletzensee by sentence.
The famous poet Konstantin Simonov played an important role in the work of Musa Jalil. He published and translated Jalil's poems, which were written in the Moabit Notebook. Before his death, Jalil managed to hand over the manuscripts to the Belgian cellmate Andre Timmermans, who upon his release from the camp handed the notebook to the consul, and it was taken to the homeland of the Tatar poet. In 1953, these poems were first published in the Tatar language, and a couple of years later - in Russian. Today Musa Jalil is known throughout Russia and far beyond its borders, streets are named after him, films are made about him, his works are loved by both children and adults.
Musa Jalil is a famous Tatar poet. Every nation is proud of its outstanding representatives. More than one generation has been brought up on his poems true patriots their country. Perception of cautionary stories on native language begins with diapers. Moral attitudes, laid down from childhood, turn into a person's credo for his entire life. Today his name is known far beyond the borders of Tatarstan.
The beginning of the creative path
The real name of the poet is Musa Mustafovich Jalilov. Few people know it, since he called himself Musa Jalil. The biography of each person begins at birth. Musa was born on February 2 (15), 1906. The life of the great poet began in the remote village of Mustafino, which is located in the Orenburg region. The boy was born into a poor family as the sixth child. Mustafa Zalilov (father) and Rakhima Zalilova (mother) did everything possible and impossible to raise children with people worthy of respect.
To call childhood difficult is to say nothing. As in any large family, all children began early to take part in the maintenance of the economy, fulfilling the clear requirements of adults. The elders helped the younger ones and were responsible for them. The younger ones learned from the older ones and honored them.
Musa Jalil showed an early desire to study. A brief biography of his training fits into several sentences. He tried to learn, he could express his thoughts clearly and beautifully. Parents send him to "Khusainiya", a madrasah in Orenburg. Divine sciences were mixed with the study of secular subjects. The boy's favorite disciplines were literature, drawing and singing.
A thirteen-year-old teenager joins the Komsomol. After the bloody end civil war Musa is engaged in the creation of pioneer groups. To attract attention and explain the ideas of the pioneer in an accessible way, he writes poetry for children.
Moscow - a new era of life
Soon he received membership in the Bureau of the Tatar-Bashkir section of the Central Committee of the Komsomol and went to Moscow on a voucher.
Moscow State University accepts it in its penates in 1927. Moussa becomes a student of the Literary Department of the Ethnological Faculty. In 1931, Moscow State University is undergoing a reorganization. Therefore, he receives a diploma from the writing department. The poet Musa Jalil continues to compose throughout the years of his studies. His biography with poetry written as a student changes. They bring popularity. They are translated into Russian and read at university evenings.
Immediately after receiving his education, he was appointed editor of children's magazines in the Tatar language. In 1932 he worked in the city of Serov. Writes works in many literary genres... Composer N. Zhiganov creates operas based on the plots of the poems "Altyn Chech" and "Ildar". Musa Jalil put the legends of his people into them. The biography and work of the poet enter a new era. The next stage of his career in Moscow is the head of the department of literature and art of the newspaper "Kommunist" in Tatar.
The last pre-war years (1939-1941) in the life of Musa Jalil are associated with the Union of Writers. He was appointed executive secretary, in charge of the writers' section of the Tatar Opera House.
War and the life of a poet
The Great Patriotic War broke into the life of the country and changed all plans. 1941 becomes a turning point for the poet. Musa Mustafovich Jalil deliberately asks for the front. The biography of the warrior poet is the path he chooses. He goes to the military registration and enlistment office, asks for the front. And he gets a refusal. The perseverance of the young man soon gives the desired result. He received a summons and was drafted into the Red Army.
He is sent to a half-year course of political instructors in the small town of Menzelinsk. Having received the title of senior political instructor, he finally goes to the front line. First the Leningrad Front, then the Volkhov Front. All the time among the soldiers, under shelling and bombing. Courage on the verge of heroism commands respect. He collects material and writes articles for the Otvaga newspaper.
The Luban operation of 1942 tragically ends Musa's writing career. On the outskirts of the village of Myasnoy Bor, he is wounded in the chest, loses consciousness and is captured.
A hero is always a hero
Severe trials either break a person, or temper his character. No matter how worried about the shame of the capture of Musa Jalil, the biography, a summary of which is available to readers, speaks of the invariability of his life principles. In conditions of constant control, exhausting work and humiliating bullying, he tries to resist the enemy. He is looking for comrades-in-arms and opens his "second front" to fight fascism.
Initially, the writer ended up in a camp. There he introduced himself by the false name of Musa Gumerov. They managed to deceive the Germans, but not their fans. He was recognized even in the fascist dungeons. Moabit, Spandau, Pletzensee - these are Musa's places of imprisonment. Everywhere he resists the invaders of his homeland.
In Poland, Jalil ended up in a camp near the city of Radom. Here he organized an underground organization. He distributed leaflets, his poems about victory, supported others morally and physically. The group organized the escape of prisoners of war from the camp.
"Accomplice" of the Nazis in the service of the Fatherland
The Nazis tried to lure the captured soldiers to their side. The promises were tempting, but most importantly, there was hope of staying alive. Therefore, he decides to take the chance of Musa Jalil. Biography makes adjustments to the life of the poet. He decides to join the committee for organizing the traitors' units.
The Nazis hoped that the peoples of the Volga region would rise up against Bolshevism. Tatars and Bashkirs, Mordovians and Chuvashs, according to their plan, were to form a nationalist detachment. The appropriate name was also chosen - "Idel-Ural" (Volga-Ural). This name was given to the state, which was to be organized after the victory of this legion.
The plans of the fascists did not come true. They were opposed by a small underground detachment created by Jalil. The first detachment of Tatars and Bashkirs, sent to the front near Gomel, turned their weapons against their new masters. All other attempts by the Nazis to use troops of prisoners of war against soviet troops... The Nazis abandoned this idea.
Last months of life
The Spandau concentration camp turned out to be fatal in the poet's life. A provocateur was found who reported on the prisoners' impending escape. Musa Jalil was among those arrested. The biography takes a sharp turn again. He was pointed out by the traitor as the organizer. The poems of his own composition and leaflets distributed by him urged not to lose heart, to rally to fight and believe in victory.
Moabit's solitary cell became the last resting place poet. Torture and sweet promises, death row and dark thoughts did not break the core of life. He was sentenced to death. In Pletzensee prison, on 25 August 1944, the sentence was carried out. The guillotine erected in Berlin ended the life of a great man.
Unknown feat
The first post-war years become black page for the Zalilov family. Musa was declared a traitor, accused of being Poet Konstantin Simonov played the role of a true benefactor - he contributed to the return of his good name. A notebook written in the Tatar language fell into his hands. It was he who translated the poems written by Musa Jalil. The poet's biography changes after their publication in the central newspaper.
More than a hundred poems of the Tatar poet were squeezed into two small notebooks. Their size (from the palm) was necessary to hide from the bloodhounds. They received a common name from the place of Jamil's detention - "Moabit Notebook". Sensing the approach of the last hour, Musa handed the manuscript to his cellmate. Belgian Andre Timmermans managed to preserve the masterpiece.
After being released from the dungeons, the anti-fascist Timmermans took the poems to his homeland. There, at the Soviet embassy, \u200b\u200bhe handed them over to the consul. In such a roundabout way, evidence of the poet's heroic behavior in the fascist camps came to the homeland.
Poems are living witnesses
The poems were first published in 1953. They were released in Tatar, the author's native language. The publication of the collection is repeated two years later. Now in Russian. It was like returning from the afterlife. The good name of the citizen was restored.
Musa Jalil was posthumously awarded the title of "Hero Soviet Union", twelve years after the execution. 1957 - a new wave of recognition of the author's greatness. He was awarded the Lenin Prize for the popular collection" Moabit Notebook ".
In his poems, the poet, as it were, foresees the future:
If they bring you news about me,
They will say: “He is a traitor! He betrayed his homeland ", -
Don't believe it, dear! The word is
Friends won't tell if they love me.
His confidence that justice will prevail and the name of the great poet will not sink into oblivion is striking:
Heart with the last breath of life
He will fulfill his firm oath:
I have always dedicated songs to my homeland,
Now I give my life to my homeland.
Perpetuation of the name
Today the poet's name is known in Tatarstan, throughout Russia. He is remembered, read, praised in Europe and Asia, America and Australia. Moscow and Kazan, Tobolsk and Astrakhan, Nizhnevartovsk and Veliky Novgorod - these and many more cities in Russia have made a great name in the names of their streets. In Tatarstan, the village received the proud name Jalil.
Books and films about the poet make it possible to understand the meaning of the poems, the author of which is the Tatar master of the word Musa Jalil. The biography, briefly outlined for children and adults, was reflected in the revived images of the feature film. The film has the same title as the collection of his heroic poems - "Moabit Notebook".
Musa Jalil - Tatar Soviet poet, Hero of the Soviet Union (1956), Lenin Prize Laureate (posthumously, 1957).
Musa Jalil (Musa Mustafovich Zalilov)
(1906-1944)
The purpose of life is precisely this: to live so that even after death does not die.
Jalil (Jalilov) Musa Mustafovich (real name Musa Mustafovich Zalilov) was born on February 15, 1906, the village of Mustafino, now the Orenburg region, the sixth child in the family. Father - Mustafa Zalilov, mother - Rakhima Zalilova (nee Sayfullina). The biography of Jalil Musa in early childhood was closely connected with his native village and is very similar to the life of many of his friends - ordinary village boys: he swam in the Net River, grazed geese, loved to listen to Tatar songs that his mother sang to him, and fabulous stories that he composed for her beloved grandson, grandmother Gilmi.
When the family moved to the city, Musa began to attend the Orenburg Muslim Spiritual School-Madrasah "Khusainiya", which after the October Revolution was transformed into the Tatar Institute of Public Education - TINO.
The first poems were published in the newspaper "Kyzyl Yoldyz" ("Krasnaya Zvezda") when he was 13 years old. Gradually, the debut and in many ways naive works of the young author become more and more mature, acquire depth, take shape, and in 1925 his first collection of poems, "We Are Coming", was published. Many people call this period in the early poetry of the author "red", constant ebullient and active participation in public life comes to his poetry with the images of the crimson banner and the scarlet dawn of freedom ("Red Army", "Red Power", "Red Holiday").
In 1927, Musa Jalil moved to Moscow, where he worked as an editor for children's magazines and entered the literary faculty of Moscow State University.
After graduating from Moscow State University, Jalil was appointed head of the department of literature and art of the Tatar newspaper "Kommunist" in Moscow.
Collections of poetry of the period 1929-1935 - "Comrade", "Order-bearing millions", "Poems and Poems".
In 1935, Musa Jalil was appointed head of the literary section of the Tatar studio at the Moscow State Conservatory. P.I. Tchaikovsky. The studio was supposed to train national personnel for the creation of the first opera house in Kazan. Jalil wrote the libretto for the operas "Altynchech" ("Golden-haired"), "The Fisherwoman". In December 1938, the opera house was opened. Musa became the first head of the literary department of the Tatar Opera House. Today, the Tatar State Opera and Ballet Theater bears the name of Musa Jalil. Jalil worked at the theater until July 1941, i.e. before he was drafted into the Red Army. In 1939, Jalil was elected chairman of the Board of the Writers' Union of Tatarstan.
In 1941 he was drafted into the Red Army. He fought on the Leningrad and Volkhov fronts, was a correspondent for the Otvaga newspaper.
In June 1942, during the Luban operation of the Soviet troops, he was seriously wounded, taken prisoner, and imprisoned in Spandau prison. In the concentration camp, Musa, who called himself Gumerov, joined the Wehrmacht division - the Idel-Ural legion, which the Germans intended to send to the Eastern Front. In Yedlino (Poland), where the Idel-Ural legion was being trained, Musa organized an underground group among the legionnaires and arranged for prisoners of war to escape. The first battalion of the Volga-Tatar Legion raised an uprising and joined the Belarusian partisans in February 1943. For participation in an underground organization, Musa was executed by guillotine on August 25, 1944 at the Ploetzensee military prison in Berlin.
In 1946, the USSR Ministry of State Security opened a search file against Musa Jalil. He was accused of treason and aiding the enemy. In April 1947, Musa Jalil's name was included in the list of especially dangerous criminals.
Much has been written about the horrors of fascist captivity. Almost every year, new books, plays, films on this topic appear ... But no one will tell about it the way the prisoners of concentration camps and prisons themselves, witnesses and victims of the bloody tragedy did. There is more to their testimony than the harsh certainty of fact. There is a great human truth in them, for which it was paid at the cost of its own life.
Jalil's Moabit Notebooks are one of such unique documents that burn with their authenticity. They have few everyday details, there are almost no descriptions of prison cells, ordeals and cruel humiliations to which the prisoners were subjected. In these verses, a different kind of concreteness - emotional, psychological. The cycle of poems, written in captivity, namely the notebook, which played a major role in the "discovery" of the poetic feat of Musa Jalil and his comrades, was preserved by a member of the anti-fascist resistance, Belgian Andre Timmermans, who was sitting in the same cell with Jalil in the Moabit prison. At their last meeting, Musa said that he and a group of his fellow Tatars would soon be executed, and gave the notebook to Timmermans, asking him to hand it over to his homeland.
After the end of the war and his release from prison, Andre Timmermans took the notebook to the Soviet embassy. Later, the notebook fell into the hands of the poet Konstantin Simonov, who organized the translation of Jalil's poems into Russian, removed slanderous slander from the poet and proved the patriotic activities of his underground group. K. Simonov's article about Musa Jalil was published in one of the central newspapers in 1953, after which the triumphant "march" of the heroic deeds of the poet and his comrades into the people's consciousness began.
I will not kneel, executioner, before you,
Although I am your prisoner, I am a slave in your prison.
My hour will come - I will die. But know: I will die standing
Although you will chop off my head, villain.
Alas, not a thousand, but only a hundred in a battle
I was able to destroy such executioners.
For this, returning, I will ask for forgiveness,
Kneeling down at my homeland.
Do you know that
In May 1945, one of the divisions of Soviet troops that stormed Berlin broke into the courtyard of the Nazi prison Moabit. There was no one there - no guards, no prisoners. The wind blew scraps of paper and debris across the empty courtyard. One of the fighters drew attention to a piece of paper with familiar Russian letters. He picked it up, smoothed it out (it turned out to be a page torn from some German book) and read the following lines: “I, the famous Tatar writer Musa Jalil, have been imprisoned in the Moabit prison as a prisoner who has been charged with political charges, and I will probably be soon shot. If any of the Russians get this entry, let them say hello to my fellow writers in Moscow. " Then there was a listing of the names of the writers to whom the poet sent his last greetings, and the address of the family.
So the first news of the heroic deed of the Tatar poet-patriot came to the homeland. Soon after the end of the war, in a roundabout way, through France and Belgium, the poet's songs also returned - two small homemade notebooks containing about a hundred poems. These poems have received worldwide fame today.
In February 1956, senior political instructor Musa Jalil was posthumously awarded the title of Hero of the Soviet Union for his exceptional stamina and courage displayed in the fight against the German fascist invaders. And in 1957 he was the first among poets to be awarded the Lenin Prize for the cycle of poems "The Moabit Notebook".
He wrote 4 librettos for the operas "Altyn Chech" ("Golden-haired", 1941, music by composer N. Zhiganov) and "Ildar" (1941).
In the concentration camp, Jalil continued to write poetry, in total he wrote at least 125 poems, which after the war were transferred by his cellmate to his homeland.
The name of Musa Jalil is the Tatar State Opera and Ballet Theater, the literary studio of which he headed, and one of the central streets of the city.
Musa Jalil's apartment museum is located in the poet's apartment, where he lived in 1940-1941. A unique exposition is collected here, which consists of the poet's personal belongings, photographs and interior items.
Monument to the Tatar poet, Hero of the Soviet Union, Lenin Prize laureate Musa Jalil in Kazan
Internet resources:
Musa Jalil. Poems / M. Jalil // Poems of classical and contemporary authors... - Access mode: http://stroki.net/content/blogcategory/48/56
Musa Jalil. Moabite notebook / M. Jalil // Young Guard. - Access mode: http://web.archive.org/web/20060406214741/http://molodguard.narod.ru/heroes20.htm
Musa Jalil. Poems / M. Jalil // National Library of the Republic of Tatarstan. - Access mode: http://kitaphane.tatarstan.ru/jal_3.htm
Musa Jalil. Favorites / M. Jalil // Library of Maxim Moshkov. - Access mode: http://lib.ru/POEZIQ/DZHALIL/izbrannoe.txt_with-big-pictures.html
Aphorisms and quotes:
If life goes by without a trace
In baseness, in captivity, what honor?
Only in the freedom of life is beauty!
There is eternity only in a brave heart!
... Our life is just a spark of the whole life of the Motherland.
Be insolent in the right deed, modest in the word.
It's useless to live - it's better not to live.
To live so that even after death does not die.
We will forever glorify that woman whose name is Mother.
It's not scary to know that death is coming to you, Kohl you are dying for your people.
Shine to our descendants like a lighthouse, Shine like a man, not a firefly.
Is it possible to hide old age?
You know, honey, no matter how you dance -
No oven would be able to
Ice to melt a frozen soul.
What is - it does not matter, you are from the face
The essence would be bright.
Be human to the end.
Be with a high heart
Heart with the last breath of life
He will fulfill his firm oath:
I have always dedicated songs to my homeland,
Now I give my life to my homeland.
I often met elephant people,
Marveled at their monstrous bodies,
But I recognized as a man
Only a person according to his deeds.
JALIL(Zhelil) (Zalilov) Musa Mustafovich (1906-44), poet, Hero of Owls. Union (1956, see). Sat. poems "Comrade" ("Ipteshke", 1929), "Red Banner Millions" ("Orders of Millionaire", 1934), the poem "Postman" (in Tatars, lang. 1940), libretto of the operas "Altynchech" ("Altynchech", 1935- 41), "Ildar" ("Ildar", 1940), coll. "The Oath of the Artilleryman" ("Tupchy Anty", 1943, Russian translation, 1944). In 1939-41 the answer was secret. Board of the Writers' Union of the TASSR. In 1941 he was drafted to the front, in 1942 he was captured. Created an underground organization of owls. prisoners of war (see. Jahlily group).In 1944, a fascist court sentenced to death, 25 Aug. 1944 executed at Pletzensee prison. In captivity, he wrote a cycle of poems "Moabitskaya tetrad "(Len. Pr. 1956). Translations. Pub licistics. Lyrics. "Works" ("Esserler", vol. 1-4, 1975-76). "Selected Works" (M., 1979). Museum-apartment in Kazan (1983). Tatar encyclopedic Dictionary... - Kazan: Institute of the Tatar Encyclopedia of the Academy of Sciences of the Republic of Tatarstan, 1998. - 703 p. , ill.
LIVE THREADS
The handcuffed prisoners were led into a large two-story hall with vaulted ceilings and huge semicircular windows. Frontthem on a dais stood an impressive judges' table made of bog oak, next to the same oak pulpit with a fascist eagle and a swastika. The positions of the prosecutor and the lawyer were located opposite each other. Heavy, black leather upholstered judges' chairs with prohibitively high backs, imposing chandeliers, bulky and uncomfortable public benches- everything was designed to make the defendant feel like a pitiful worm, a grain of sand in front of an unshakable block of fascist law and order ...The outcome of the trial was a foregone conclusion- neither judges nor defendantsno doubt about it. The proceedings slowly rolled alongorder once and for all. The prosecutor spoke, the interrogation protocols were read, “incriminating” documents and photographs were presented, and witnesses were heard. Could Jalil have imagined even for a moment that in this very hall, where the dull voice of the judge, amplified by excellent acoustics, sounds, in some thirty-odd years his poems, translated into German, will ring with a thunderous roll.
Musa Jalil (Musa Mustafovich Zalilov)was born in the Tatar village of Mustafino of the former Orenburg province (now the Sharlyk district of the Orenburg region) on February 2 (15), 1906 into a peasant family. For six years he went to study at a rural mekteb *, where in a year he mastered the basics of reading and writing and memorized several suras from the Koran. Soon the family moved to Orenburg in search of a better life. The father managed to arrange his son in the Khusainiya madrasah **. It was considered "new method", that is, progressive madrasah for those times. Along with the obligatory cramming of the Koran and all kinds of religious scholasticism, secular disciplines were also studied here, lessons in native literature, drawing and singing were conducted.
During the Civil War, Orenburg became the arena of fierce battles, power alternately passed from one force to another: either the Dutovites or the Kolchakites established their own rules. In the Orenburg caravanserai (hotel for visitors), twelve-year-old Musa saw the bloody corpses of Red Army men, women and children, hacked to pieces by White Cossacks during a night raid. Before his eyes, Kolchak's army was establishing "firm power" - it commandeered livestock, confiscated horses, arrested and shot those who sympathized with the Soviet regime. Musa went to rallies and meetings, eagerly read newspapers and brochures.
When a Komsomol organization emerged in the spring of 1919 in Orenburg, surrounded by the White Guards, thirteen-year-old Musa enlisted in the ranks of the Youth Union, rushing to the front. But they do not take him to the detachment: he is small, puny, he looks like a very boy. Returning after the death of his father to his native village, Jalil creates a children's communist organization "Red Flower". In 1920, on the initiative of Musa, a Komsomol cell was formed in Mustafin. Ebullient, active by nature, Musa becomes a recognized leader of rural youth. He was elected a member of the RKSM volost committee, sent as a delegate to the provincial Komsomol conference.
Musa did not just campaign for new life, but also with arms in hand defended the young Soviet power: in the detachments of special forces he fought with white gangs. On May 27, 1920, V.I.Lenin signed a decree proclaiming the formation of the Tatar Autonomous Republic within the RSFSR. A solid foundation has appeared for the development of the national economy, science and culture. Young Tatar writers, musicians, artists come to Kazan, obsessed with the desire to take part in the formation of a new art.
In the fall of 1922, sixteen-year-old Jalil also moved to Kazan. “I was led ... inspired by faith in my poetic power,” he wrote later (“My life path»).
The morning silence was broken by the clatter of soldiers' boots. He was climbingfrom below, along the echoing cast-iron steps, rumbled along the corrugatedthe iron of the open galleries encircling the chambers ...in soft felt shoes, they walked noiselessly. Roughly, without hidingonly the guards who took the condemned to execution behaved. I'll finishthe members of the community listened silently: will they carry it in, will it not carry it? Not carried over. Keys clanked. Slowly, with a grinding noise, the heavy, poorly oiled door opened ...
Two military men entered the cell, armed and "not very kind", as one of the prisoners later recalled, an ItalianR. Lanfredini. Having read out the names of the Tatars from the list, they ordered to quicklyget dressed. When they asked: “Why? Where?" - the guards replied that they knew nothing. But the prisoners, as Lanfredini writes, immediately realized that their time had come.
Several general notebooks with poems, stories, plays by young Musa have come down to us. From the very first, so far naive, experiments one can feel the spontaneous democratism of the beginning author. A native of the lower classes, who had a lot of grief and need, who experienced the contemptuous and arrogant attitude of the Bai sons, the son of a junk dealer, who was taken to the state kosht in the madrasah only out of mercy, Musa treats the people with sincere sympathy. True, he still does not know how to clothe a thought in flesh artistic images and declares it directly, "head-on":
My life is for the people, all my strength,
I want the song to serve him too.
For my people, I may lay down my head -
I'm going to serve him until the grave.
("Word of the poet of freedom")
Jalil's early work bears clear traces of the influence of democratic Tatar literature of the early 20th century, especially the poetry of Gabdulla Tukay and Mazhit Gafuri. With their work, Musa's poems are brought together by humanistic pathos, sympathy for the oppressed, intransigence to evil in all its forms.
During the civil war, Jalil's conviction in the triumph of a just cause is expressed in the form of revolutionary appeals and slogans. The poems of this period are notable for the open revolutionary pathos that makes Jalil's poetry related to the work of such poets of modern times as Galiasgar Kamal, Mirkhaidar Faizi, Shamun Fidai and others. The oratorical intensity of the verses, the openly proclamational style, is noteworthy.
Not only the ideological content was new. The national under the pen of the poets born of the revolution takes on different forms. New vocabulary penetrates poetry. The traditional oriental images are replaced by revolutionary symbolism - a scarlet banner, a blazing dawn of freedom, a sword of revolution, a sickle and a hammer, a shining star of the new world ... The names of Jalil's youthful poems are noteworthy: "Red Army", "Red Holiday", "Red Bogatyr" , "Red Way", "Red Power", "Red Banner". The poet so often uses the epithet "red" (in its new, revolutionary meaning) in these years that some researchers call this stage of the poet's work the "red period".
In Kazan, Jalil works as a copyist for the Kyzyl Tatarstan newspaper, and then studies at the workers' faculty at the Eastern pedagogical institute... He meets the most prominent representatives of Tatar Soviet poetry: Kavi Najmi, Hadi Taktash, Adel Kutuy and others, participates in disputes, literary evenings, plunges headlong into the stormy literary life of the republic. Since 1924 he has been a member of the literary group "October", which held proletarian positions. He devotes all his free time to creativity, is actively published in Kazan newspapers and magazines.
Shouting for order: “Shnel! Shnel! " ("Fast! Fast!"), - the guards went to the next cell. And the prisoners began to say goodbye to Lanfredini and to each other. "We hugged like friends who know that they will never see each other" (from the memoirs of Lanfredini).
In the corridor, footsteps, excited voices, shouts of guards were heard. The cell door opened again, and Lanfredini saw Musa among the condemned to death. Jalil also noticed Lanfredini and greeted him "with his usual" salam ". Passing Lanfredini, one of his new friends (I think it was Simaev) impetuously embraced him and said: “You were so afraid of dying. And now we are going to die ... "
In the Tatar poetry of the 1920s, a kind of revolutionary-romantic trend emerged, which received the name "Hyssianism" (from arabic word "Gisyan" - "revolt"). It is characterized by heightened expression, romantic pathos, the cult of a strong, lonely, rebellious personality, the denial of a musty life (and with it often of all "low, rough" reality), an aspiration to a sublime and not always precisely defined ideal. "Gisyanism" in a purely national form reflected some of the features and characteristics characteristic of all young Soviet poetry of the 1920s.
Sensitive to everything new, ready to keep up with the times, Musa paid tribute to this trend as well. From slogan and openly agitational verses, he makes a sharp transition to a condensed metaphor, deliberate complexity of poetic language, romantic inspiration, the scale of “cosmically” abstract images: “I opened a new path for the sun beyond the darkness, // I visited the blue stars, // I brought the sky closer and made friends with the earth, // I am rising from the universe in growth. " His hero dreams of a universal fire, in which everything old and obsolete will burn. He is not only not afraid of death, but goes to meet it with some kind of enthusiastic self-denial. “Gisyanism” was not just a “growing pain”, a kind of hindrance to the assertion of realistic principles in Jalil's work and in Tatar poetry in general. This was a natural stage of development. On the one hand, it reflected the processes common to all multinational Soviet literature (Rapp's "cosmism"). On the other hand, the centuries-old oriental traditions of Tatar literature, revived at the steep pass of history, were refracted in a peculiar way.
In Jalil's poems of the 1920s, the high ideals of the new generation found a figurative expression: purity of feelings, sincerity, passionate desire to serve the people. And even if this poetry did not know half-tones, it was born and inspired by youthful maximalism, high intensity of civic feelings. This romantically inspired poetry, for all its conventionality, had its own unique charm:
An arrow entered under the heart ...
Unbuttoned
An unknown new thing is open to me.
Flows onto a snow-white shirt
My still rebellious blood.
Let me die ...
But you who are next door
You will find yourself in other times
Take a look at the shirt - with the blood of the heart
It is painted in an alarming color.
("Before death")
The distance between the Berlin prisons of Spandau and Pletzensee is small, some fifteen to twenty minutes by car. But for the convicts, this journey took about two hours. In any case, their arrival is noted on the registration cards of the Pletzensee prison at 8 a.m. on August 25, 1944. Only two cards have come down to us: A. Simaeva and G. Shabaeva.
These cards make it possible to understand the paragraph of the charge: "subversive activity." Judging by other documents, it was deciphered as follows: "subversive activities for the moral decay of the German troops." The paragraph according to which the fascist Themis did not know any condescension ...
The poet has repeatedly emphasized that a new stage in his work begins in 1924: “During the years of the workers' faculty, a revolution was outlined in my work. In 1924, I began to write in a completely different way ”(“ My Life Path ”). Jalil resolutely rejects both romantic conventions and oriental metaphors, looking for new, realistic colors.
In the poems of 1918 - 1923, Jalil most often used various modifications of aruz - the system of versification, which was established in the Turkic-speaking classical poetry. Having perfectly mastered aruz, Jalil, following Hadi Taktash, switches to a more organic one for tatar language syllabic folk verse. The classical genres of oriental lyrics (gazelle, mesnevi, madhia, etc.) are being replaced by genres common in European literature: a lyric poem, a lyric-epic poem, a song based on folklore.
In Jalil's work, colors and images of real life are more clearly manifested. This is facilitated by an active social work poet. During the years of his work as an instructor of the Orsk Ukom of the Komsomol (1925-1926), Jalil traveled to Kazakh and Tatar auls, organized Komsomol cells, and was actively involved in political mass work. In 1926 he became a member of the Orenburg province committee of the Komsomol. The next year he was sent as a delegate to the All-Union Conference of the Komsomol, where he was elected a member of the Tatar-Bashkir section of the Central Committee of the Komsomol. After moving to Moscow, Jalil combines his studies at Moscow State University with extensive public work at the Central Committee of the Komsomol. He becomes a member of the Section Bureau and subsequently Deputy Executive Secretary. “Komsomol work has enriched my life experience, hardened me, brought up in me a New Look for life ", - the poet later noted (" My Life Path ").
Jalil gradually formed as a singer of youth, a poet of the Komsomol tribe. Many of his poems are dedicated to significant dates in the life of the Komsomol ("Eighteen"), became popular Komsomol songs ("Song of Youth", "Sing, Friends", "Song of the Komsomol Brigade", etc.). It is no coincidence that Jalil's first collection "Barabyz" ("We Are Going", 1925) was published in the "MOPR Library ***" series and his fee was transferred in full to the Fund for Assistance to Foreign Workers.
A significant part of the book "We Are Coming" was composed of poems about the pre-revolutionary past. The next collection "Comrade" (1929) is dominated by poems about the present and contemporaries. But in this book, too, the same spirit of revolutionary asceticism dominates, readiness for heroic deeds in battle and in labor, sometimes even a kind of poeticization of difficulties.
Another feature of Jalil's lyrics (also largely characteristic of Soviet poetry in the 1920s) is historical optimism. The poet seems to be intoxicated by the unprecedented prospects that have opened up before him. He is not just aspiring to the future, but, as it were, ahead of events, perceives as a fait accompli that which has just been born in torment and pain.
The one-sidedness of the poet's worldview led to straightforwardness in the lyrics. The poet does not pay enough attention to revealing in all the depth and contradictions of the inner world of his heroes. For him, a sense of collectivism, community with the masses, and involvement in the great affairs of the era is much more important. It was only much later that he became aware of the intrinsic value of each individual person, interest in the inimitable in man.
The execution was scheduled for twelve o'clock. The convicts, of course, were brought in well in advance. But the execution began six minutes later. The case for extremely punctual jailers is exceptional ... This is explained either by the fact that the executioners had a particularly large amount of "work" (on the same day the participants in the conspiracy against Hitler were executed), or by the fact that one of the clergymen who were obliged to attend the execution was late. ... They were: the Catholic priest Georgy Yurytko (a German non-commissioned officer, a Catholic, was also executed as part of the group) and the Berlin mullah Gani Usmanov.
During his studies and work in Moscow, Musa met many prominent Soviet poets: A. Zharov, A. Bezymensky, M. Svetlov. Listens to V. Mayakovsky's speeches at the Polytechnic Museum. He meets E. Bagritsky, who translates one of Jalil's poems. Enters the MAPP (Moscow Association of Proletarian Writers), becomes the third secretary of the association and the head of the Tatar section of the MAPP.
The hero of Jalil's poetry is most often a peasant boy, striving for the light of a new life. He lacks knowledge, culture, but he does not have enough conviction and faith in the cause of socialism ("From the Congress", "On the way", "The first days in the Komsomol," etc.). Most often, the poet talks about himself, his love, friendship, studies, the life surrounding him ("From a student's diary", "Our love", etc.). The lyrical hero of his poems is uncompromising, obsessed with the ideals of a brighter future, despises philistine prosperity.
There are also serious costs. Proceeding from Rapp's attitudes, the poet is looking for unprecedented "proletarian" colors, trying to develop a "new poetic language." “And in me, like cast iron from ore - from dreams - you melt the will to fight and work,” he writes in his poem Morning. Even the street seems more attractive to the hero of the poem because there is a smoky factory on it. In the poems of the late 1920s and early 1930s, the "steel voices of machines" sometimes drown out the voice of the poetic heart.
But even in those works where, in one way or another, the costs of Rapp's attitudes and vulgar sociological views make themselves felt, a living, lyrical feeling breaks through, like melting water from under the snow. Lyricism, according to the unanimous recognition of critics, is the strongest side of Jalil's talent.
In 1931, Jalil graduated from the literary department of Moscow University with a degree in literary criticism. Until the end of 1932 he continued to work as the editor of the children's magazine "October balasy" ("October"). Then he headed the department of literature and art in the central Tatar newspaper "Kommunist", published in Moscow. But not so many people live in the capital, they constantly travel around the country. Jalil has never been just a professional writer. Throughout his life, he either studied or worked, often combining two or three positions at a time. Comrades were amazed at his irrepressible energy, broad erudition, accuracy and uncompromising judgment.
His poetry was the same - impetuous and passionate, convinced of the rightness of the cause of socialism, irreconcilable to enemies and at the same time soft, lyrical.
The assistant warder Paul Dürrhauer, who accompanied the condemned on their last journey, was surprised to say that the Tatars behaved with amazing resilience and dignity. Dozens of executions were carried out before his eyes every day. He was already accustomed to screaming and cursing, was not surprised if at the last minute they began to pray to God or lost consciousness from fear ... But he had never seen people go to execution with their heads held high and singing at the same time “some Asian song ".
In 1934, two final collections of Jalil were published: "Order-bearing millions", which included mainly poems on the Komsomol youth theme and "Poems and Poems", which included the best of what was created by the poet in the late 20s - early 30s. x years. These books summarize the previous period and mark the beginning of a new, mature stage.
Jalil's poetry becomes deeper and more diverse. The inner world of the lyrical hero is enriched. His feelings become psychologically more reliable, and the perception of life - philosophically more significant, wiser. From a sharp oratorical gesture, the poet goes on to a confidential lyrical confession. From the sweeping, energetic step of the verse - to the melodiousness of the song.
The poet's style is characterized by a passionate, upbeat emotional attitude to the world. On the one hand, this expresses the historical optimism characteristic of the era. On the other hand, the features of the poet's active, vital nature and hot temperament are manifested. Any event or phenomenon of reality awakens in him an impulse to act immediately, evokes enthusiastic approval or equally passionate rejection. His hero is always militantly active. Idle contemplation, spiritual passivity are alien to him.
The critic V. Vozdvizhensky is right when speaking about the peculiarities of this period: "The emotional-figurative perception of life freed Jalil's poetry from straightforwardness, but in no way deprived it of its usual purposefulness, high socio-political tone." The absolute preoccupation with the affairs of the nationwide scale was historically conditioned. The poet was happy to take advantage of the open revolution of the opportunity - to live the lives of others, for others, forgetting about himself. In the poem "Years, Years ...", reflecting on the days of struggle and hard work that left wrinkles on the face and deep marks in the soul, the author concludes:
I'm not offended.
Youth ardor
I gave to the days that were hardened in battles.
I was creating, and labor was sweet to me,
And my plans came true.
Obviously, the poet at times felt the discord between the voice of the heart and the theoretical attitudes of the era of Stalinism. Sometimes, speaking in the words of Mayakovsky, he stood "on the throat of his own song." It is no coincidence that his lyrical thoughts and a number of love poems remained unpublished. The lyricism inherent in the poet's creative manner breaks through in them especially clearly.
Yes, the poet showed almost no negative phenomena, did not "expose" the crimes of the Stalinist regime, although, of course, he could not have been aware of them. Who would dare to do it then? The poetry of M. Jalil attracts others. Reading such poems as "Zaytune", "Spring", "We are still laughing through our eyelashes ...", "Amina", "When she grew up", you feel human warmth, love of life, the charm of kindness. This is poetry of exceptional moral purity, attracting with cordiality and confidence in intonation.
“I also remember the poet Musa Jalil. I visited him as a Catholic priest, brought him Goethe's books to read, and learned to value him as a calm, noble man. His fellow prisoners in the Spandau military prison respected him very much ... As Jalil told me, he was sentenced to death for printing and distributing appeals, in which he urged his fellow countrymen **** not to fight against Russian soldiers. "
(From a letter by G. Yurytko to the German writer L. Nebentsal.)
Jalil often appears in the periodical press with articles, essays, reports about the builders of the Stalingrad Tractor Plant or the Moscow Metro, writes about the Bolshevik pace and shock workers of the first five-year plans, exposes bureaucrats, shares his thoughts about the youth movement and anti-religious education. These themes were reflected in one way or another in his poetry.
If an offensive, major spirit prevails in publicistic poems, then in intimate lyrics the firmament is not so cloudless. It contains sadness, doubts, and difficult experiences. "In a strange way, friendship began. // Everything in it was - sincerity and passion. // But two strong, proud people, // We tortured each other to our heart's content" ("Hadiye". From the poems that remained unpublished). The poems are of the same nature.<Синеглазая озорница...>, <Латифе>, <Я помню> and others. They are attracted by the depth and truthfulness of the lyrical feeling. But the poet was mistaken in thinking that poems of this kind are "too intimate" in nature. For centuries, the ideology of Islam has instilled in the minds of contempt for a woman, viewed her as a being of a lower order: a wordless slave, the property of her husband. In the lyrics of Jalil, there is a careful, reverent and tender attitude towards a woman, affirming her right to an independent feeling, family happiness, free choice in love. This is an important social aspect of Jalil's lyrics.
Jalil's poetry already crossed the national boundaries in the pre-war years. Translations of his poems are published in central newspapers and magazines, are included in anthologies and collective collectibles. In 1935, the poet's poems were published as a separate book in Russian.
During the last meeting, Jalil told the priest his dream. “He dreamed that he was standing alone on a big stage, and everything around him was black - both walls and things,” G. Yurytko wrote about this later. An ominous and stunning dream ... Yes, Jalil found himself on the stage of history face to face with fascism. Everything around him was black. And all the more respect deserves the unparalleled courage with which he met his hour of death ...
Jalil already used folklore plots, images, and poetic dimensions in his early works. Folklore motifs sound especially well and organically in lyric songs. Many songs to the words of Jalil gained wide popularity and became a national treasure of the Tatar people ("Remembrance", "By Berries", "Waves-Waves", etc.). They contain the folk language, purely national humor, laconicism, imagery. It was not a stylization, but a conscious creative study, an organic assimilation of folklore, which Jalil rightly called "the phenomenon of the genius of the people."
In the 1930s, literary ties with the writers of the fraternal republics deepened. Jalil devotes a lot of time to translation, translates "The Knight in the Panther's Skin" by Shota Rustaveli (co-authored with L. Faizi), the poem "Little Mother" by Shevchenko, Pushkin's poems and romances, the poems of Nekrasov, Mayakovsky, Lebedev-Kumach, Golodny, Ukhsai, etc. ...
The pre-war years are marked in Jalil's work by an intensified craving for the epic breadth of the image. During this time he created several major epic poems. The poem "The Director and the Sun" (1935), which was not published during the life of the author, is very interesting. The poems "Dzhigan" (1935-1938) and "Letter carrier" (1938) are peculiar in character and stylistic drawing. They combine soulful lyricism with a soft and kind author's smile.
Jalil wrote four opera librettos. The most significant of them is "Altynchech" ("Golden-haired", music by composer N. Zhiganov).
For about five years, Jalil worked as an editor for children's magazines. He wrote leading articles, correspondence, prepared satirical materials and humoresques under the heading "From Shambai's Notebook", conducted extensive correspondence with readers. During these years, he acquired a taste for working with children, got to know child psychology better. He writes pioneer songs and marches fableand poetic feuilletons, landscape sketches and graceful miniatures for the little ones. Jalil wrote a lot for children and later.
In the late 30s - early 40s, Jalil worked as the head of the literary section of the Tatar Opera House. The writers of Tataria elect him to be the head of their organization. Jalil is still in the thick of life, he lives with new creative plans: he conceives a novel from the history of the Komsomol, begins a poem about a modern village.
The war canceled these plans.
I follow in the footsteps of the poet. In the wake of war, courage, blood, deaths and songs. I find in the loose sands of former concentration camps blackened from corrosion (or maybe from human blood?) - soldier's buttons, scraps of barbed wire, green cartridge cases ... Sometimes you come across fragile, yellow fragments of bones ...
The barracks for prisoners of war have long been destroyed, greatcoats and tunics have rotted, strong - without wear - soldiers' boots have turned into scraps.
Much has decayed and became dust. But the poet's songs, like dozens of years ago, burn with freshness and the power of passion.
On June 23, 1941, on the second day of the war, Jalil took a statement to the military registration and enlistment office with a request to send him to the front, and on July 13 he put on a military uniform. After graduating from short-term courses for political workers, he arrived at the Volkhov Front as a correspondent for an army newspaper<Отвага>.
The life of a political worker and military commander began, full of difficulties, hardships and risks. “Only on the front line can you see the heroes you need, scoop material, follow the combat facts, without which it is impossible to make a newspaper operational and military,” Jalil wrote to his friend G. Kashshaf. “My life now passes in a combat situation and in painstaking work. ... Therefore, I now confine myself to front-line lyrics, and I will take on big things after the victory, if I stay alive ***** ".
In the first weeks of World War II, Jalil wrote a cycle of poems<Против врага>, which included fighting songs, marches, passionate patriotic poems, built as an excited poetic monologue.
The poems written at the front are of a different character. The pathetic monologue and open publicism are replaced by front-line lyrics, which simply and reliably reveal the feelings and thoughts of a person in war.
Have at the entrance to the Nazi prison Pletzensee, a memorial urn with the ashes of those executed and tortured in all concentration camps of Nazi Germany was installed. Nearby, a memorial wall has been erected with the inscription: “To the victims of the Hitlerite dictatorship of 1933-1945 ". Funeral wreaths hang on special stands. One of the rooms in the execution bar has been converted into a museum. The walls are hung with materials about the Pletzensee prison, photographs of participants in the assassination attempt on Hitler, documents of other victims of Hitlerism.
The execution room remained intact. A grate for draining profusely gushing blood, a gray cement floor ... The walls and ceilings were whitewashed,-otherwise the gloomy oppressive atmosphere would be simply unbearable.
We are patiently waiting for the motley wave of tourists to subside. Then the poet's widow, Amina Jalil, steps over the protective rope and puts a bouquet of scarlet carnations on the place where Musa and his comrades were executed. For several minutes in silence, with our heads bowed, we stand near the red spray on the gray cement floor.
At the end of June 1942, while trying to break through the encirclement, Musa, seriously wounded and stunned by the blast wave, was captured. After many months of wandering around the POW camps, Jalil was brought to the Polish fortress of Deblin. Here the Nazis drove the Tatars, Bashkirs, prisoners of war of other nationalities of the Volga region. Musa met his fellow countrymen, found those who could be trusted. They formed the core of the underground organization he created. "
At the end of 1942, the Nazis launched the formation of the so-called "national legions". In the Polish town of Yedlino, they created the Idel-Ural legion (since the overwhelming majority of the legion were Volga Tatars, the Germans usually called it the Volga-Tatar). The Nazis were indoctrinating prisoners, preparing to use legionnaires against the Soviet Army. To thwart the plans of the fascists, to turn the weapons put into their hands against the fascists themselves - this was the task set by the underground group. The underground fighters managed to infiltrate the editorial office of the Idel-Ural newspaper published by the German command, printed and distributed anti-fascist leaflets, created carefully conspiratorial underground groups - "five".
The very first battalion of the Volga-Tatar Legion, sent to the Eastern Front, raised an uprising, killed German officers and joined the detachment of Belarusian partisans (February 1943).
In August 1943, the Nazis managed to find the trail of an underground group. Jalil and most of his comrades in arms were arrested. Days and nights of interrogation and torture began. The Gestapo broke the poet's arm, beat off the kidneys. The body was rinsed with rubber hoses. The shattered fingers were swollen and barely bent. But the poet did not give up. Even in prison, he continued the battle with fascism - with his creativity.
On April 23, 1945, the 79th Rifle Corps of the Soviet Army, advancing in the direction of the Reichstag, reached the line of Berlin's Rathenostraße and Turmstrasse streets. Ahead, through the smoke of explosions, a gloomy gray building appeared behind a high brick wall - moabit prison. When the soldiers broke into the prison yard, there was no one there. Only the wind carried rubbish around the yard, scraps of paper, stirred up pages of books thrown out of the prison library by the explosion. On a blank page of one of them, one of the soldiers noticed a note in Russian: “I, the Tatar poet Musa Jalil, have been imprisoned in the Moabit prison as a prisoner who has been charged with political charges and will probably be shot soon. If any of the Russians get this record, let them say hello from me to fellow writers in Moscow, inform the family. " The soldiers sent this sheet to Moscow, to the Writers' Union. So the first news of Jalil's feat came to the homeland.
Much has been written about the horrors of fascist captivity. Almost every year, new books, plays, films on this topic appear ... But no one will tell about it the way the prisoners of concentration camps and prisons themselves, witnesses and victims of the bloody tragedy did. There is more to their testimony than the harsh certainty of fact. There is a great human truth in them, for which it was paid at the cost of its own life.
Jalil's Moabit Notebooks are one of such unique documents that burn with their authenticity. They have few everyday details, there are almost no descriptions of prison cells, ordeals and cruel humiliations to which the prisoners were subjected. In these verses, a different kind of concreteness - emotional, psychological.
Many verses of the Moabite cycle show how hard it was for Jalil. Longing and despair stuck in my throat like a heavy lump. You need to know Musa's love of life, his sociability, affection for friends, wife, daughter Chulpan, his love for people in order to understand the full severity of forced loneliness. No, it was not physical suffering, not even the closeness of death that oppressed Jalil, but separation from the Motherland. He was not sure that the Motherland would find out the truth, he did not know whether his poems would break free. What if the fascists will be able to slander him, and in the homeland they will think of him as a traitor?
When you read even the most hopeless lines of Jalil, no hard feelings remain in your soul. On the contrary, you feel pride in a person, for the greatness and nobility of his soul. A person who loves his Motherland, his people so much, is so attached to them with thousands of living threads, cannot disappear without a trace. He exists not only in himself, for himself, but also in the hearts, thoughts, memory of many, many people. In the "Moabit Notebooks" there are no motives of doom, passive sacrifice, just as there were none in the poet's healthy soul, in love with life.
Everything that is told in the "Moabit Notebooks" is deeply personal, intimate. But from this it does not cease to be socially significant. Here was found that wonderful fusion of the personal and the public, to which the poet strove all his life.
What accumulated in Jalil's work gradually, over the years, manifested itself in a blindingly bright flash. From the pages of the Moabit Notebooks, we are faced with not just a talent belonging to one people, but a poet, rightfully belonging to the best sons of mankind.
One of the main virtues of the Moabite cycle, which made it so popular, is a sense of authenticity. We believe every word, we feel the icy breath of death that stood behind the poet's back. And the acute pain of separation, and longing for will, and bitterness, and doubts, and proud contempt for death, and hatred for the enemy - all this was recreated with tremendous power.
In "Moabit Notebooks" the acuteness of the feeling of fullness of life in anticipation of imminent death is striking. The nerve of the cycle, its core conflict, is the eternal collision of the human and the inhuman. Jalil, having met with fascism face to face, expressed with particular sharpness and clarity the idea of \u200b\u200bthe antihuman essence of Hitlerism. In such verses as "The Magic Tangle", "Barbarism", "Before the Court", it is not just the cruelty and heartlessness of the executioners that are exposed. With all the logic of artistic images, the poet leads to the idea that fascism is organically hostile to living things. Fascism and death are synonyms - for the poet.\u003e
Jalil's hatred of fascism as a social phenomenon nowhere turns into hatred of the German people. The poet has great respect for the Germany of Marx and Thälmann, Goethe and Heine, Bach and Beethoven. Thrown into the stone sack of the Moabit prison, awaiting the death penalty from day to day, he does not believe that the entire German people is poisoned by the poison of Nazism. It is deeply symbolic that, choking in the darkness of the fascist night, the poet yearns for the sun - the sun of knowledge, advanced culture, life-giving ideas of Marxism - believes that it will shine over the renewed Germany ("In the country of Alman").
Calm and persistent confidence in victory, in the irresistibility of the forces of life, gives rise to the optimistic tone of the Moabit Notebooks. The poems written on the eve of the execution now and then light up with the smile of a calm person, confident in his dignity, and often laughter sounds in them.
By the decree of the Presidium of the Supreme Soviet of the USSR of February 2, 1956, Musa Jalil was posthumously awarded the title of Hero of the Soviet Union for the exceptional fortitude and courage shown in battles with the Nazi invaders in the Great Patriotic War. And a year later, the Committee for Lenin and State Prizes in Literature and Art under the Council of Ministers of the USSR awarded Musa Jalil - the first among poets - the Lenin Prize for the cycle of poems "Moabit Notebook".
In one of the churches in Warsaw, I saw an urn with Chopin's heart. The immortal music of the brilliant Polish composer sounded in the solemn twilight. People stood in silence, joining the great, brightening their souls.
Where is Jalil's heart buried?
We cannot yet answer this question with complete certainty. It is only known that at the end of August 1944, the Nazis took out the corpses of those executed to an area near the town of Seeburg, which is a few kilometers west of Berlin.
I have visited these places. Other ditches that have settled, half-collapsed in many places are overgrown with green fir-trees, whips of white-trunk birches. Somewhere here, in an unknown moat, among thousands of victims of the fascist regime like him, the poet's heart rests. And the tree roots sprouting through it-like living threads connecting the poet with the big world, the world of the sun, sky and soaring birds.
Raphael Mustafin
* M e k te b - Tatar primary School, most often supported by the funds of the peasants.
** "X us and n and ya" - Muslim theological school in Orenburg.
*** IDLO - International Workers Aid Organization.
**** This refers to the national legion "Idel-Ural", created by the Nazis from prisoners.
*****
Jalil M. Selected / trans. with the Tatars. ; comp. and prepare. text by Ch. Zalilova and R. Mustafin; entry article and note. R. Mustafina. - M.: Artist. lit. , 1990. - 462 p.