Aligaji from Inho. "Ali-gadzhi from Inkho" material on local history on the topic

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Aligaji from Inho. Born in the village of Verkhnee Inkho (now Gumbetovsky district) in 1845, in the family of a highlander Gazimagomed. Until the age of 12, the boy was raised in a family and studied at the village school, then his father sent him to study at a madrasah in another village - Miatli. After studying in Miatli for 10 years, Ali-Gadzhi returned to his native village. Soon after returning, he accepted the invitation of the jamaat of the neighboring village of Orot to the position of (imam) dibir. Then he moved to the same position in the village of Burtunay.

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After working there for a year and a half, at the request of the residents of the Kumyk village of Enderi, he moved to them and became a dibir in the mosque for many years (seventeen years). It is also known about Ali-Gaji that he twice made the holy pilgrimage to Mecca - hajj, for which he received the title Haji (saint). It is known that the first trip was organized to meet the mountaineers with Shamil, who was in Mecca (approximately November 1870, when Ali-Gadzhi was working in Orota), the poet made the second trip already during his years of living in Endirei.

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Ali-Gadzhi's poetry, even during the poet's lifetime, gained recognition and love of the people. His didactic poems, wise sayings and edifications, religious sermons and chants, elegies and satirical poems were widely circulated and popular. Since 1905, the poet’s works have been intensively published in Temir-Khan-Shura in the printing house of M. Mavraev. They were included in the collections of Sirazhudin from Obod "Bustan Avaristan" ("Garden of Avaristan", 1905), Abdullagji from Chokh "Vag1zabazul t1ekh" ("Collection of Sermons", 1912).

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The poet’s poems were first published under Soviet rule by the famous Avar philologist Abdulatip Shamkhalov in the collection “Ancient Songs and Stories of the Avars” (1928) compiled by him. After a significant break in 1958, they were published in the "Anthology of Avar Poetry"

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The Year of Literature in Dagestan marks the 170th anniversary of the birth of the outstanding classic of Dagestan literature Aligadzhi from Inkho, who made a significant contribution to the development of the poetic culture of his people. This is a significant coincidence, and it lies not only in the fact that the anniversary will once again allow us to remember the author of immortal works, but also in the fact that the anniversary date of the poet offers a look at the history of Dagestan literature through the prism of the life feat of Aligadzhi from Inkho, one of the most talented and brave sons of Dagestan.

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The extraordinary talent and poetic talent of Aligadzhi from Inkho received recognition from readers and were highly appreciated by Dagestan criticism and literary criticism. An indicator of his important role in Dagestan verbal art is his creativity, which has crossed national boundaries. His works were published in translation into Russian and gained fame throughout the country. The value of the literary heritage of Aligaji from Inkho is determined by his works, which have an extraordinary artistic and aesthetic sound and the richness of his native language.

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For the current generation of readers, the significance of his poetic works is also important because they express cultural traditions, moral and ethical values developed by the centuries-old development of Dagestan society. Both the creative activity and life path of Aligadzhi from Inkho indicate that he saw his calling in serving the people, was a patriot of his native land, and cared for its better future. The name of Aligadzhi from Inkho is on a par with the recognized classics of Dagestan literature Omarla Batyrai, Irchi Kazak, Etim Emin, Gamzat Tsadasa, Abutalib Gafurov.

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In the capital of our republic, there are streets named after Dagestan classical poets, but, unfortunately, Aligadzhi from Inkho is not on this list. It would be a reasonable decision by the administration of Makhachkala to name one of the streets or squares after him, and to open a museum of the poet in the village of Verkhneye Inkho. Fortunately, the house where he was born and spent his youth has been preserved. And although this house has been rebuilt more than once over time, it can be considered the poet’s “native” home.

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The issue of preparation for the 170th anniversary of the birth of the poet, philosopher, spiritual educator Ali-Gadzhi from Inkho was discussed at a working meeting of the Head of the region M. Magomedaliev. The meeting was attended by the deputy head of the district administration A. Karimov, the head of the culture department M. Umardibirov, the director of the center for traditional culture of the peoples of Russia N. Akhdibirov, the director of the central library system S. Abdulmutalibova, and the correspondent of the district newspaper G. Gebekov. Deputy Head of Administration A. Karimov, Head of the Culture Department M. Umardibirov, S. Abdulmutalibova, who spoke at the meeting, spoke about the plan of events for preparing and holding the anniversary of Ali-Gadzhi from Inkho. Summing up the meeting, the head of the MR "Gumbetovsky district" Magomedali Magomedaliev gave specific instructions for preparing and holding events dedicated to the 170th anniversary of the poet and Arabist scientist.

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POEMS OF STUDENTS OF MKOU "IGALINSKAYA SECONDARY SCHOOL" DEDICATED TO THE 170TH ANNIVERSARY OF THE BIRTH OF ALI-GAJI FROM INKHO

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ALI-GAJI FROM INKHO I know little about Ali-gadji from Inkho, But I have heard that he became famous for his advice. He branded hypocrites, valued the work of the shepherd, and respected him in his native village. Now the anniversary date is coming, people will gather to honor the poet. There will be passionate speeches on this day, many songs of praise will be sung. And I will say in the words of a wise poet, Their truth is completely simple. “Dedicated to serving the country, the names of the faded stars are not forgotten.” Tazhudinova Gogar, 9th grade student

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Ali-haji, your wise instructions, I strived to know in childhood. I tried to understand life's lessons, I enjoyed the enchanting poems. I cannot get enough of the nectar of your wonderful poetry. I sit behind a book, comprehending wisdom, Your poems have become my support in life. Thank you, Ali-gadzhi, for your priceless creation, It is the best in the world, without a doubt. There is so much truth and doctrine in them, And let everyone draw a saying from it. Taymudarova Zamira 9th grade

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The treasury of wisdom of the great thinker of the era, the energy of the spirit feeds mine. He praised human benefactors and condemned sins. With this Ali-haji showed his learning. *** A small volume of Ali-gadzhi’s works, a treasure trove of edifications for each of us. My friend, treasure his wisdom, and your spiritual purity will increase. *** They called you the wisest philosopher of the era, You became famous for the moral teachings of life. They have become a guiding star for many, in the vastness of the entire latitude of the earth. *** You were irreconcilable towards hypocrites and boors, You were respectful towards the sick and the poor. He taught his children learning and intelligence, and sometimes suffered from the injustices of people. *** Your wise look, sharp thoughts, How we miss them today. They revealed the truth to the people, and therefore are dear to their descendants. Efendiev M.M.

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The sage from Inkho, wise with experience, conquered the whole world with an excellent saying: “Having not known the hardships of labor, whoever wants to rest, Let him reap the unsown plot without a sickle.” *** Having replaced spring, hot summer comes, Life without looking back speeds up the run. And I see the silhouette of the poet Ali-gadzhi somewhere, And an insidious age appears before me. People walk in the image of a predator, Our souls have been taken over by greed, the judge-qadi is unclean in his hands, And how many are starving without food. A wise man would not tolerate injustice. Pugnacity, arrogance and lonelyness. After all, life has changed the foundations of morality, It is not the mind that is valued today. Thank you, great sage Ali, your instructions helped me. I am in an unpaid debt to you, and therefore I turn to you with a prayer. Ali-gadzhi, heartfelt thanks for the poems! Magomedova Rukiyat 9th grade

Sea of Mind

Avar literature of the second half of the 19th century was illuminated by the talent of Ali-Gadzhi from Inkho, enriched by his “sea of reason,” captivated by his lyrics, awakened by satire, perpetuated by aphorisms and instructions. Ali-Gadzhi is a poet, Ali-Gadzhi is a scientist, Ali-Gadzhi is a stronghold of spirituality.

Poet, scientist, religious figure... He revealed many secrets to us, comprehended the depth of the spiritual world and the height of the mind. Without a poet there is no homeland and people, but there is no poet without a homeland and people. He must feel their pain, sighs, joys, sadness, good and evil, the thunder of failure, the voice of trouble, the dignity of freedom, the power of justice. A poet must have a pure and eternal intention to remain a person in the big world and in the memory of the people, and if there is no such intention, then such a poet will be covered with the dust of years. He, like a torn leaf, will fly away, disappear and be forgotten as soon as he is buried.

But Ali-Gadzhi is different. He is forever. He will be in the memory of the people as long as the people are alive, for he has merged with the people.

This is the feeling that fills my heart, captivated by the works of Ali-Gadzhi. Therefore, I want, having told “Bismillah” to bend over the book of Ali-Gaji, open my thoughts to the readers and set sail in his “sea of reason” on my boat.

If I can, I can, but if I can’t, don’t blame me, reader. I'm not a scientist, I'm a dreamer. And I dream of saying my word about Ali-Gadzhi from Inkho.

Gray hair

The most famous and talented poets in the world can subscribe to Ali-Gadzhi’s poem “Grey Hair” without hesitation. This is one of the highest peaks of Avar poetry.

“Grey Hair” is not just a poem - it is a small poem. It has absorbed the whole life of a person, from it we learn the path along which the poet’s thoughts reached the highest levels of perfection. It reveals the poetic, mentoring and philosophical talent of Ali-Gadzhi.

Everyone knows the lines:

No matter how much I hid in my soul,

They didn’t hide my temples.

At least I took care of the body, hiding at home,

My hair gave me away.

From the very beginning of the poem, the style is unlike anyone else. We become witnesses to the secret of life that the poet reveals. Life, life, life. Ali-Gadzhi knows her well:

Times are changing, the arrows are moving,

The years pass quickly, I'm getting old.

Even though the body gets older and relaxes,

To spite the body, the heart gets younger.

Here the poet flapped his wings for the flight of thought. The verse rises:

Just because the heart gets younger, the body doesn't get revitalized.

After the folds appear.

Stretching your neck will not straighten your back

After you become hunchbacked.

After a little but necessary philosophical reflection, the real conversation begins:

Hello, gray hair, my uninvited guest,

How did you come without my permission?

Touching the temples, remaining on the chest,

Isn't it a sin for you to scare me?

The struggle has begun... of life and death, past and present, youth and old age, dreams and unfulfilled hopes. There is inevitability ahead, but the poet is not afraid of it, and the gray-haired messenger of death is not ashamed.

Taking advantage of the trust, you settled on your temples,

Did you really think that this was the hair of a beauty?

Without modesty he approached the body,

Have you really thought about a woman's breasts?

This question is asked to give yourself confidence. Preparations for battle are underway. This is the beginning of a big upswing.

I know you're not a guy to love girls,

I just amuse myself with this.

And you won't show up ahead of time,

I am sad because I was not ready for your arrival.

These lines contain a double meaning - worldly and spiritual. The poet sees and hears himself:

Let them kill the wife of the one who does not like guests -

I'm afraid that I won't be able to do what is necessary.

Let the friend of the one who does not like his friend die -

I'm afraid to expose what's hidden.

The expressions “let them kill your wife” and “let your friend die” are perceived with fear. But, in my opinion, the poet has the right to use any verbal techniques if it gives sharpness to his thoughts.

The owl that flies to every death,

For some reason I made a nest in my village.

The owl that lurks in secluded places,

When she sat down next to me, I began to doubt.

The poet began to doubt whether his life had been in vain, whether he had done everything to help people, whether he had paid tribute to the Almighty. Ali-Gadzhi does not express most of his thoughts; he hides them between words.

He seeks the truth and paints pictures of justice, bringing us closer to the common people.

Like in a mirror, he shows us different pictures:

Bird hiding in a hollow

The black crow killed.

Tit running away from birds

Scared a crow from its nest.

In the works of Ali-Gadzhi we see a battle of thoughts; bizarre pictures open before us that resemble reality:

The black raven that guarded my head

Killed by an owl means the end of the world is coming.

Judgment Day is when

The raven nesting on the head will fly away.

There is no fear in the poet's heart. Even when gray hair appears and the Day of Judgment arrives, the poet is well aware of his strength, he knows the value of the past days, he knows his purpose and is ready for anything in the face of the coming eternity:

One illness has descended on my head,

I don’t know whether it’s snow or an eagle owl.

The crow that was there before has flown away,

Will she come back or not?

The words “crow”, “owl”, “eagle owl”, “snow” repeated several times became symbols of the poet’s state of mind. Naturally, Ali-Gadzhi knows that the “black crow” (youth) will not return, but he is ready to endure adversity:

Now the snow won't come down from the mountains,

Before the mountains collapse.

If the snow melts, the owl will fly away,

Only after the nest is destroyed.

This puts a full stop on the first part of the poem. The questions are over, we need to move on to the answers. But these are very significant questions of the spiritual world.

The image of the gray-haired khan becomes the meaning of religion and peace. He clenches the remaining days that he has left to live in his fists. It’s not for nothing that Ali-Gadzhi starts a conversation with him and becomes close to the “gray-haired ruler.”

There's either snow or an owl nearby,

The gray-haired khan walks around the fortress.

And those rulers who argue with him,

Throws him into prison without mercy.

The gray-haired khan is death and immortality rolled into one.

This is the end of life and the beginning of eternity. The poet understands that he must take this for granted. He must go on an eternal journey with this, and there are no forces that can stop him. The gray-haired khan is not captivated by worldly goods.

Lyrics

Ali-Gadzhi is not a lyrical poet, he is a philosophical poet. Even the lyrics in his work are largely filled with instructions and teachings. Therefore, it is sometimes difficult to perceive and understand his lyrical world and find the hidden power of love there.

At times it seems that Ali-Gadzhi is tired of talking about love, and that this is not the main goal of his life and poetry. But in the light of the poet’s conscience, a life-giving feeling is revealed, the pearl of the word sparkles, and the power of beauty is affirmed.

Rock dove of Mecca and Medina,

I lost peace when I recognized you...

Red rose hips growing in the fields,

My whole soul is burning from the inside.

There is one more feature of Ali-Gadzhi’s love lyrics. If Chunky and Mahmud's works turn into mini-poems, then Ali-Gadzhi's works briefly and laconically express a specific thought.

The language of love is the language of the heart. His poems about love are revelations of the heart, pain and bitterness of the soul, the breath of passion.

Ali-Gadzhi from Inkho- a beacon of spirituality - looked into the eyes of truth without fear. Therefore, he was able to establish himself at the height at which his own immortality and subsequent eras shake hands with him. He preserves his light in this all-encompassing eternity.

The beauty of the construction of his syllable is surprising:

...My mind is racing.

The complexion changes

When in a multi-colored dress,

You're standing on the roof...

Look how beautiful my beloved's eyebrows are,

And like Pegasus, the look is amazing.

The heart, against all odds, defends the fire of love:

They want to see paradise houris

Submissive to the Quran and Hadith,

And you are like the radiance in the Paradise palaces.

It seems to Ali-Gadzhi that the Koranic houris - the beauties of paradise - and the gardens, and even the dazzling fire of Hell are incomparable with the beauty of the eyebrows of his beloved. It is not a simple superficial feeling that overwhelms him.

The truth is the truth. She is never good or bad. The truth can only be the truth.

Ali-Gadzhi does not have two-faced poems. There are poems written by one poet with one purpose - a dedication to his only beloved or his only enemy. Therefore, every line of Ali-Gadzhi shines from the inside, it is fair and rings like a bell. Ali-Gadzhi’s love poems are ruled by talent, and even if these poems were written for one moment, they are involved in eternity. The hearth of love is immortal, and each lyricist has his own place at this hearth, where the soul warms itself by the fire. Ali-Gadzhi from Inkho also has such a place. It must be said that it was he who kindled the fire of lyricism in Avar literature. Before him there was brilliant folk poetry, but we are talking about a huge talent of an individual, a poet-genius, a creator. Ali-Gadzhi is the source of classical Avar literature, the creator of the literary language.

We see all the colors of the rainbow and all the faces of love in the lyrics of Ali-Gadzhi. Here is a mountain aurochs with golden wool and a bird of paradise growing in flowers and the shade of trees, and a spring babbling in the gorge, and a cooing bird, and sunlight illuminating the sky and earth, and the best of the beauties of the world, and a gazelle with pearly eyes, and the white dove in Mecca, and the paradise doe with a penetrating gaze, and the beloved’s body, slender, like a mountain chamois, and the moon illuminating the sky. We see a beautiful, beautiful woman worthy of love. But all this would be in vain if the poet limited himself to just a description of appearance. At the same time, Ali-Gadzhi opens the inner, spiritual world of love. That's what's important to him. He does not perceive a beautiful but worthless woman.

The state of the heart is the basis of love. In Ali-Gadzhi's love lyrics, the main theme is precisely the state of the heart. He thinks with his heart, revealing to us the secret of love. The poet builds bridges between his lyrics and the future poems of Chanka and Mahmud, gives a lesson in poetics and beauty.

Revenge of poems

We have known these lines of Ali-Gadzhi since childhood.

Yes, so that it would be bad for them, both Budun and Dibir,

To whom prayer is dear as a bag to a mouse.

Mutalim too, so that the ants eat them,

They go around stealing under the guise of studying.

We find ourselves in the land of Ali-Gadzhi's satire. Satire is the revenge of poetry for all the injustice in the world.

It is not easy to take revenge. It was probably not easy for Ali-Gadzhi, being an imam, to slap other imams and religious figures in the face with his poems.

But the poet's conscience is above all. Petty vile deeds in this unique world are not acceptable to her. Therefore, having drawn the sword of honor and dignity, turning the pen into a weapon, Ali-Gadzhi rebelled against stupidity. His satire does not serve to achieve his own goals. The vices of life are exposed in it, there is a power in it that tears to shreds everything that contradicts common sense.

Curses to all who deserve to be cursed.

Peace - virtues - this is the goal of Ali-Gadzhi's satire.

How vile you are - sycophants of kings,

Everyone takes revenge for the poverty of the people.

Do not doubt, the day of the people will come.

And he will take revenge on you even after a hundred years.

Yes, his thought, sharp as a razor blade, takes revenge even a hundred years later on today’s rabble - sycophants and gangs of thieves. So it was and so it will be. Ali-Gadzhi never just threw words around. The scales of his thoughts weighed the good that humanity has accomplished and the evil from which the human race groans. His thoughts become the waves of the “sea of the mind.”

This is what he says about the poor:

Like hungry jackals take a lousy goat,

They will take you to the cemetery.

And without the slightest pity, like a sheep

They will throw you into a hole.

The titles of Ali-Haji's satirical and accusatory poems speak for themselves: “To the death of the poor,” “Astrology,” “Liar,” “To the Gossip,” “To the Rich,” “Drunkenness,” “Wastefulness,” “Sheikh,” “To Bigamy.” " etc.

A young, healthy body and a proud heart.

Don’t ruin booze by drinking,

Control yourself, poor man.

Each lesson is the poet’s testament. The poet was disgusted by drunkenness.

Sea of Mind

Most of Ali-Gadzhi's works are truly educational in nature. But his instructions never get boring, do not become a burden, you want to listen to them, they show the right path, encourage humanity, preserve dignity and honor, teach humanity, brotherhood, teach life, bring you closer to science, distance you from ignorance:

Tying two knots on an envious heart

Doing everything out of spite is unacceptable.

...Whether you ride or walk -

Always be friends with water - this is purity...

...Stick to perfect science,

Have a strong handrail.

... Be kind to everyone equally,

After all, rulers have a short life span.

... Heartily love those who are distant, but the best.

Ali-Gadzhi also says:

How beautiful is the speech of the one

Who passionately wants to learn new things.

Today's poets can use these lines as an epigraph for their poems.

If there is a fire of passion, a mind for learning new things, the word of the poet will be heard, and it will become a witness to his deeds, life and love, an echo of fate.

For Ali-Gadzhi, the most important and dear thing is love for the homeland and fulfilling one’s duty to it:

Fulfilling their duty to their homeland,

The names of the faded stars will not be forgotten.

These are the expressions that adorn each of Ali-Gadzhi’s works of an edifying nature. The more the poet thinks about the world, learns the secrets of life, the more wisdom there is in his lyrics. The richer she is, the more space there is for her.

Ali-Gadzhi from Inkho discovered an island of edifying works characteristic only of his lyrics. Around the poet the sea of reason rages and beats with eternal waves of anxiety. Drops of reason from the free heart of the poet fly into our hearts. If they did not exist, we would become poorer, and our souls would become hardened.

Many people don’t even think about how a poem is born. This is difficult to understand, but here is what the master says about it:

Pen, whisper to the ink

About the state of my soul.

Passion, become the groan of the soul.

When the passion of the soul, which has become a groan, turns into an exhalation, this is poetry. And the one who exhales is called a poet. A poet is judged by his aimlessly lived days and nights. We must understand this in order to understand the moments of wisdom and the agony of creativity. It is always difficult to fight against time and win this fight.

Ali-Gadzhi has an endless dispute over time:

I put the trap of worldly burdens around my neck,

And the light of clear days faded.

Eyes accustomed to the light

Black time is over, heavy as cast iron.

The poet, who could reflect on the stars that adorn the sky, is tormented by the vanity of the world, he is tormented along with the pain of the people.

The people are a hand, and the poet is a finger on this hand. There is great happiness and misfortune in this.

“Drops from the sky fell on my body,” writes the poet.

The poet's thoughts reach out into space:

“In a world spinning quickly, like a whetstone,” Ali-Gadzhi’s talent was sharpened like a knife. His poems and words were with the people and remained among the people. This is why he is valuable.

How perfect and accurate are his words about the earth:

I have never seen you fairer

You made everyone equal: the poor man and the rich man,

villain and good man, righteous man and prophet.

You take everyone without singling out anyone.

In life, we must first of all be people, the poet believes. After all, we were born on earth, and we will go to earth.

Until the messenger of death saddled his horse

Know that you must leave good on earth, no matter how small.

Good remains, leaving a mark in people's hearts. This is the height of Ali-Gadzhi's talent.

On the shoulders of Dagestan, like on a military uniform,

There are insignia that are inaccessible to many -

Fearlessness and intelligence of the mountaineers -

The virtues that mountains have.

This is the type of mountaineer and poet that Ali-Gadzhi from Inkho is. His talent, like a mark of distinction, is and will be on the shoulders of Dagestan.

APHORISMS OF ALI-GAJI FROM INKHO

Who wants success without difficulty,

Let the unsown field be reaped without a sickle.

I think that if Ali-Gadzhi had not written anything other than this couplet, he would still have remained forever in Avar literature. A real poet will not say a word in vain. His speech becomes a perfect life lesson. Lessons in Ali-Gadzhi's verses consist of aphorisms collected in couplets and quatrains. Short poems need the most perfection, conciseness, conciseness of thoughts, inner radiance. Couples measure the perfection and skill of a poet. Master of words, teacher of reason - I want to pronounce these two epithets when reading the aphorisms of Ali-Gadzhi.

The poet himself says:

In one of my expressions you will find two secret meanings,

Here the wise man will discover so many hidden pearls.

Two meanings... This is the basis of the poems, the main goal hidden between the lines.

Wisdom hidden in the lines, beauty that you need to know about, embedded in speech.

It can be difficult to insert pearls with two meanings into a verse, but the more difficult it is, the more necessary it is.

The sage will not let a person perish,

even if there is an enemy in front of him.

Creativity begins not only with love for a person, but also with understanding the enemy. Wisdom begins with the ability to forgive.

“Don’t challenge a fool,” wrote Pushkin. Ali-Gadzhi writes something similar:

Do not call death because you have been slandered -

You can't beat a tree without fruit with a stick.

Don't look for the truth from the frivolous -

Honey will not flow from salt bags.

These four lines are worth four hundred others. Yes, it is useless to argue with a fool and fight with a liar.

But... But it’s difficult for a poet when they gain the upper hand.

How many good things do people run away from?

There are so many harmful things that a person cannot do without.

Evil turns against those who create it: a scoundrel is killed by his own meanness, an ignoramus is killed by his own ignorance, a liar is destroyed by a lie, a traitor dies from treason. Someday, sooner or later, we will leave this world. And it depends only on the person himself what his life will be like from birth to death. Will it be a spring of good or a swamp of evil?

The poet Ali-Gadzhi from Inkho is the creator of his own destiny.

My life passes by, like a growing poplar branch.

I leave the world like a pacer on the road.

You meet a lot on this road. And that which kills you, and that which is killed by you. But it takes time and effort to clear the road of stones and bushes. Not many people can do this, and happy is the one who is able to do it. The poet finds a cure for the diseases of time, his words wash away the dirt of times.

Ali-Gadzhi constantly reflects on what is most dear to a person’s heart and calls for goodness. Even if the body is unhealthy, the soul must remain healthy, it must be kept pure. You cannot trust time, it is changeable. But you cannot change human conscience, you cannot sell your dignity for any money. “Be merciful to the little man,” says Ali-Gadzhi. After all, this little man creates this world, he protects his faith and homeland.

Respect the poor and the needy,

In difficult times, their help will be significant.

Ali-Gadzhi does not elevate himself above others. This is a sign of wisdom. His main goal is to remain human to the end.

Many days, nights, and a long journey.

Afterword

This does not end the thoughts and thoughts about Ali-Gadzhi from Inkho and his work. The time has come when books are written about him. I will be glad if my thoughts at least a little open the huge poetic world of Ali-Gadzhi, and if there is at least a drop from his “sea of mind” here. I hear his voice again:

Time has three different days -

One day has passed and will not return,

The second is today, not eternal,

The third, unknown, is coming.

Thanks to the poet. Thanks to Ali-Gadzhi from Inkho.

People's poet of Dagestan, Magomed Akhmedov

“My soul is younger than my mortal body,

She stubbornly does not give up for years.

There are no wrinkles on her - not like on the skin,

And it stays straight - not like your back..."

Once they asked Aligaji from Inkho (may the Almighty have mercy on him): “What does a person lack most?” -""Reason" was his answer...

The year of birth of the poet, according to A. Shamkhalov, is considered to be 1845. Ali-Gadzhi was born in the village of Verkhneye Inkho (present-day Gumbetovsky district) in the family of a simple and hardworking mountaineer Gazimagomed.

Until the age of 12, the boy was raised in a family and studied at the village school of the village, then, according to accepted custom, his father sent him to study at a madrasah in another village - Miatli.

After studying in Miatli for 10 years, Ali-Gadzhi returned to his native village. Soon after his return, he accepted the invitation of the jamaat of the neighboring village of Orot to the post of dibir. Then he moved to the same position in the village of Burtunay.

After working there for a year and a half, at the request of the residents of the Kumyk village of Enderi, he moved to them and became a dibir in the mosque for many years (seventeen years).

It is also known about Ali-Gaji that he twice made the holy pilgrimage to Mecca - hajj, for which he received the title Haji (saint). It is known that the first trip was organized to meet the mountaineers with Shamil, who was in Mecca (approximately November 1870, when Ali-Gadzhi was working in Orota), the second trip was made by the poet already during the years of his life in Enderi.

He had a wonderful voice and was famous not only as a poet, but also as a performer of his songs. The author of many lyrical and satirical poems directed against money-grubbing and hypocrisy, as well as poetic philosophical aphorisms that entered the Avar language as sayings.

In 1913, Mavraev's printing house published Ali-Gadzhi's poem "The Capture of Mecca" as a separate edition, glorifying the Prophet's historical campaign to Mecca. Ali-Haji was also known in the East, where he was published along with Hasan from Kudali, Muhamed Tahir al-Karahi and others.

In 1972, the first separate collection of the poet’s works, “Nazmabi” (“Poems”), was published, and in 1995, a new collection of poems, “Asaral” (“Works”), which finally included his spiritual poetry. The Russian reader first became acquainted with the work of Ali-Gadzhi in 1934 in the “Dagestan Anthology”; later his poems were published in the collections “Poetry of the Peoples of Dagestan” (1960), “Dagestan Lyrics” (1961).

"You're carrying an empty book under your arm,

You use it to answer the questions of the ignorant.

Start star divination soon

To the delight of deceivers and healers.

You throw fortune telling stones three times,

Who are you comforting with your fortune telling?

After all, if you started a song for a donkey,

The song wouldn't make a donkey happy.

Let the merry tambourines and pipes ring out,

Rams will not dance to a tambourine,

If wise words do not touch your mind,

That's right, your head is empty.

You will not touch the soulless with a soulful word,

It is impossible to help them in their deplorable lot,

And know that the price of a donkey is unknown

And the property of a thoroughbred horse.

And he who cleanses veal stables,

He hardly knows the habits of an eagle.

Remember two or three funny jokes

For these forest bears in fur hats.

Keep two or three kind words in stock

For those who are ready to cling to each other.

Don’t forget - it will come in handy on the way -

Save collars for fools,

Yes, so that the bells on their necks would jingle,

So that they can be recognized everywhere from afar.

For their work, give them before going to bed:

The slop goes to the donkey, and the grain goes to the horse.

A barren bush, overgrown in a thicket,

Do not compare with a fruiting palm tree,

And don't be offended in your heart

For those who do not consider good to be good.

And it’s very funny who breathes vexation

For those who do not smell flowers.

To the one with whom you will never see eye to eye,

Wave your hand goodbye as you leave,

And don’t answer chatterboxes with chatter,

Pass them silently and remain yourself."

(Translation from Avar by Yakov Kozlovsky)

Ali-Gadzhi from Inkho is one of the brightest representatives of the brilliant cohort of Dagestan poets.

Just like the Dargin Omarla Batyray, the Kumyk Irchi Kazak, the Lezgin Etim Emin, Ali-Gadzhi opened a new page in the cultural history of his people, replacing the centuries-old tradition of Arabic-language literature with the original artistic traditions of his people and thereby laying the foundation for the development of the Avar literature on a native language basis.

Ali-Gadzhi died in 1889 in the Kumyk village of Enderi.

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays

Tazhudinova Sakinat Shayikholislamovna. Problems and poetics of spiritual poetry of Ali-Gadzhi from Inkho: dissertation... candidate of philological sciences: 01/10/02 / Tazhudinova Sakinat Shayikholislamovna; [Place of defense: Dagestan State Pedagogical University]. - Makhachkala, 2015. - 155 p.

Introduction

Chapter I. Life and work of Ali-Gadzhi from Inkho

1.1. History of publications and study of Ali-Gadzhi’s work 13

1.2. Life and creative path of Ali-Gadzhi 19

1.3. Review of the creative heritage of Ali-Gadzhi from Inkho. Traditions of Arabic poetry in the work of the Dagestan poet 25

Chapter II. Genre diversity and poetics of Ali-Gadzhi’s spiritual lyrics

2.1. The Mawlid genre in the works of Ali-Haji 41

2.2. Artistic means and poetic syntax of the sermon genre (Turks) in the works of Ali-Haji 47

2.3. Poetics of the philosophical elegy of Ali-Gadzhi from Inkho 56

2.4. Language and verse of spiritual poetry of Ali-Gaji 94

Chapter III. Poems of Ali-Gadzhi from Inkho

3.1. The artistic structure and problematics of Ali-Gadzhi’s poem “Shamilide” (“Dedication to Shamil”) 102

3.2. Historicism and the image of the Prophet in Ali-Gaji’s poem “Makka bahiyalul Turki” (“Taking of Mecca”) 113

Chapter IV. Satirical works and miniatures of Ali-Gadzhi from Inkho

4.1. Satirical orientation of Ali-Gadzhi’s spiritual lyrics 124

4.2. Ideological and artistic originality of Ali-Gadzhi’s aphorisms 131

Conclusion 135

List of used literature 146

Review of the creative heritage of Ali-Gadzhi from Inkho. Traditions of Arabic poetry in the work of the Dagestan poet

Ali-Gadzhi from Inkho is one of the brightest representatives of the brilliant galaxy of Dagestan poets of the second half of the 19th century. Along with the Dargin Omarla Batyrai, the Kumyk Irchi Kazak, the Lezgin Etim Emin, Ali-Gadzhi opened a new page in the cultural history of his people, replacing the traditions of Arabic-language literature with the artistic traditions of his people and laying the foundation for the development of Avar literature on a native linguistic basis.

Ali-Gadzhi's poetry, even during the poet's lifetime, won him recognition and love of the people. His didactic poems, wise sayings and edifications, religious sermons and chants, elegies and satirical poems were widely circulated and popular. In order not to be unfounded, we consider it important to emphasize the following fact: when a printing house was created in Temir-Khan-Shura, publishing the works of famous scientists and cultural figures of Dagestan, the talented poets Chanka from Batlaich and Mahmud from Kahab-Roso, who lived during that period, but their works were not published, while the works of Ali-Gadzhi were published systematically. This, of course, testifies to the great demand and relevance of his work for the poet’s contemporaries. Ali-Gadzhi's poetic works have been printed in this printing house since 1905. They are included in the collections of Sirazhudin from Obod “Garden Avaristan” (“Bustan Avaristan”, 1905), Abdulagadzhi from Chokha “Collection of Sermons” (“Vagizabazul tiekh”, 1912), and, along with religious instructions, poetry was also included in these collections of a secular nature - “Khahiab ras” (“Gray Hair”), “Miskinchi Khveidal” (“When a Poor Man Dies”), “On Ignorance,” as well as didactic miniatures by the poet. In 1913, Mavraev’s printing house published a separate edition of Ali-Gadzhi’s poem “Makka bahiyalul Turki” (“Taking of Mecca”), glorifying the historical campaign of the Prophet to Mecca. (138.4)

Ali-Haji was also known in the East, where he was published along with Hasan from Kudali, Muhammad Tahir al-Karahi and others.

However, the poetry of the popularly recognized master of artistic expression, Ali-Gadzhi, was not very well received by the authorities established after the October Revolution of 1917. His work did not fit into the defining canons put forward by the new government, he was literate, received an excellent, at that time, Arabic education, and besides, Ali-Gadzhi was not one of the sufferers whose lives were ruined by the feudal lords. The historical fact is that everything related to religion and Arab influence was doomed to become obsolete. Everything written in Arabic script was subject to destruction. This is exactly what happened to Ali-Gadzhi’s extensive library, which he collected throughout his life. After the death of the poet, his books were taken on six mules to the village of Orota, to the kunak for storage. But as a result of denunciation, fearing persecution from the authorities, the kunak was forced to burn his entire library. However, when analyzing the books of the Arabist scholar Kadilaev Kadilav from the village of Chitli, a book about the Hajj was discovered, on the inside cover of which there was a certain note. Upon further study, it turned out that the inscription was made in ajama and can be literally translated as “Pakir Inkhosa Giali-Khizhiasul, mulkadasa tsoyab” (“One of the treasures of the poor Ali-Gadzhi from Inkho”). From the words of Kadilav himself, we know that he borrowed this book from the poet’s son-in-law, Dibir, long before all the other books were destroyed. Considering that the word “pakir” from Avar can be translated as “poor”, “wretched”, we believe that only Ali-Gadzhi himself, who, as is known, was characterized by such a form of address and manner of writing. Therefore, we can believe that the recording was made by Ali-Gaji himself from Inkho. In the same book, small sheets of paper with notes were found, possibly also written in the hand of Ali-Gadzhi.

Returning to the topic of the new government’s acceptance of the work of the Avar poet, it should be said: a significant part of his legacy, the so-called spiritual poetry, was rejected by it as reactionary, and it approached the rest with great caution. However, the people's interest in the work of Ali-Gadzhi did not fade away; not only philologists, but also philosophers were interested in him. Sometimes, deliberately avoiding sharp corners and taboo topics, and sometimes sincerely sharing regulated assessments and views, researchers did not allow the path to Ali-Gadzhi’s poetry to become overgrown. These include, in particular, literary critic Ch.S. Yusupova.

For the first time under Soviet rule, the poet’s poems were published by the famous Avar philologist Abdulatip Shamkhalov in the collection “Ancient Songs and Stories of the Avars” (1928). According to the compiler of the collection, Ali-Gadzhi had a pleasant appearance and a beautiful voice, had an improvisational talent, and composed poetry on the spot.

After a significant break, only in 1958 the poems were published in the Anthology of Avar Poetry. In 1972, the poet’s first collection of poems, “Poems” (“Nazmabi”), was published, and in 1995, a collection of poems, “Works” (“Asaral”), which finally included his spiritual poetry. In 2001, the collection was reissued. The Russian reader first became acquainted with the work of Ali-Gadzhi in 1934 in the Dagestan anthology. The anthologies of 1934-1950, 1960, 1980 include no more than 10 works by the poet, and, in our opinion, they are not distinguished by successful translation. This state of affairs is most likely explained by the fact that Ali-Gadzhi’s poetry is distinguished by its great originality. Its aphorism, imagery, word play and deep subtext are very difficult to convey in another language.

Artistic means and poetic syntax of the sermon genre (Turks) in the works of Ali-Haji

The primary source of Mawlid is the Koran and Hadith - the sayings of the Prophet, legends about him, his deeds and way of life. The creators of the Mawlid relied on the lives of the Prophet created by different authors in different eras.

Depending on the volume, Mawlid are classified into the following types: Mawlid-akbar - great Mawlid, Mawlid-sagir - small Mawlid. Their performance depends on the place and time: on especially solemn occasions, with a large crowd of people, mawlids-akbar and kabir are performed in mosques, in a narrower circle - mawlids-sagir.

The set of Mawlid, according to SM. Khaibullaev, consists of works of varying volume and artistic merit. Great and large mawlids cover the entire life of the Prophet Muhammad from his conception to the last day of his life, they describe in detail his childhood, surroundings, the environment in which he grew up, work, conversion to religion, participation in and leadership of hostilities, the triumph of Islam and his ideas. The Mawlid also shows the emergence of Islam as one of the main world religions.

The canonical, small Mawlidahs do not have the detail that is inherent in the large Mawlidakbars; they do not have a big plot twist: actions, events, facts are only named, simply indicated without deep disclosure and commentary. They focus on the defining periods of the life and work of the Prophet Muhammad.

The third group of Mawlid is a detailed description of individual, specific events, facts of life, such as the ascension of avarag to heaven, his prophetic activity, marriage, etc. All this is written briefly and concisely. The fourth group of mawlids are detailed lyrical monologues, which express the author’s attitude towards the Prophet Muhammad, towards his activities as the messenger of Allah. They lack a plot, an event basis, only the author’s subjective attitude to the object of treatment is expressed.

It should be noted that in almost all of Ali-Haji's mawlids, constructed according to the laws of artistic creativity, there is a detailed plot, a grouping of images, a pronounced conflict, and discord between supporters of Islam and adherents of idolatry and paganism.

Mawlids also have a unique system of versification. They use poetic meters of sixteen, fifteen, fourteen syllables, divided by a caesura into equal parts. As a rule, in Avar versification such meters are rarely used, while in Mawlid they contribute to a calm, recitative performance.

All mawlids, regardless of their volume, are poetic works of the epic, lyric-epic and lyrical directions. The facts underlying them could become the basis for narrative genres. Mawlidahs highlight such global issues as the creation of the world, man, relationships between people, their faith, behavior and morality.

Based on the proposed classification of genres of spiritual poetry, “Mawlid” by Ali-Gaji from Inkho can be classified as a “high” panegyric genre, which is distinguished by sublimely pathetic vocabulary and style, emotional richness and vivid metaphorical language, colorful comparisons and epithets, hyperbole and rich symbolism. In his Mawlid, Ali-Gaji from Inkho presents Muhammad in two aspects of life: human and prophetic, moral and religious.

Ali-Haji's "Mawlid" begins with the presentation of the high human qualities of the Prophet, such as generosity, kindness, and responsiveness. The author endows him with courage, valor, and strength. The hero of the Avar poet's Mawlid has all the qualities of an epic hero. Among the merits of the Prophet are also his thorough mastery of the sciences and the amazing depth of his versatile knowledge.

As the author approaches the revelation of the great mission entrusted to the Prophet, the idealization of the image of Muhammad will increase. In this case, the sublime style of Ali-Gadzhi from Inkho reaches its highest point; it is replete with abstract religious imagery, rhetoric and exaggerated artistic and visual means. The poet, creating the image of the Prophet, is inexhaustible in the use of comparisons and epithets aimed at exalting and exalting the hero:

Historicism and the image of the Prophet in Ali-Gaji’s poem “Makka bahiyalul Turki” (“Taking of Mecca”)

Before the small measure of my heart is filled with patience, my large measure is filled with sadness. The unity of lyrical experience in the elegy develops, moving in two directions. The poet then directly expresses his worries about the endless tossing of his poor heart, although he himself is immersed in thoughts of imminent death, and his soul stubbornly does not want to give up, despite the fact that he knows about the black grave; then the sorrows of the heart acquire a conditionally symbolic generalization, which is created by the use of real phenomena in a figurative meaning:

Shamalul magіarda gіazu batanin, Parzal chi vachіana pachayadry. Polkallul kuvatal kadarlun rubin, Kokab khabar schvana hunkarasukhye.

(3, Ш). A man came to the emperor with a complaint that the mountains of Vatan (homeland) were covered with snow. Short news reached the king that the forces of the regiment were exhausted. The symbolism is presented through the usual action of the law and order, filing a complaint, which in the elegy itself acquires appropriate voice. It seems like an everyday detail - news about the state of the army, but in contact with the poet’s spiritual world it turns into a bright, figurative metonymy, which as a result leads to a thickening of sadness to a gloomy awareness of the irrevocability of events and the inevitability of the end of existence, aggravated by the inclusion in the text of the elegy of the names of Koranic characters symbolizing death: Azrael, the hawk of death, etc.

The elegy “Rekiel Arkanazda” (“Compound Hearts”) ends with logically harmonious conclusions, accompanied by an intonation of thoughts and experiences. The poet justifies his human weakness before the inevitable end, as if apologizing for sharing the heaviness on his heart, the darkness that has crept into his soul. Ali-Gadzhi's elegies are distinguished by emotional experiences, unclear illusions, ghostly hints, fragility and illusoryness of the boundaries of the internal state of the lyrical hero. The overflow of unclear sensations, the figurative veiling of what is presented, the reluctance to fully reveal one’s feelings and their root causes bring harmonious coherence and semantic capacity into poetry, which actively influences the reader’s soul. Ali-Gadzhi’s elegy “Rekiel Arkanazda” (“Compound Hearts”) reveals a special state of mind that is conducive to reflection.

In the analyzed elegies of the Dagestan poet, the feelings of a believer are conveyed in a philosophical understanding of the irreversibility and transience of human life. But there is another layer of poems where the author’s thoughts result in the motives of a person’s unpreparedness for moving to another world, where he laments the departure from the precepts of Islam, which causes deep concern for the poet.

There are quite a lot of elegies in Avar poetry that develop the philosophy of Islam. They contain a lot of exclamations, emotionally excited statements, and clearly stated formulas. Each author put his soul into his creations, paying great attention to the skill of conveying feelings and revelations. Such elegies are filled with human experiences; the lyrical hero is concerned with the question of what the person did not realize during his life, whether he fulfilled his duty to the Almighty in full. The concept of responsibility, arising from the Muslim philosophy of “dunyal-akhirat” (earthly - other worlds), gives the elegies a vivid emotionality. They are directed to the heart and mind of a person, to his conscience. In elegies written in a similar aspect, the question most often raised is about faithful service to Allah, about readiness/unpreparedness to appear before

To the Almighty, a question about the mountain code of honor and human dignity. Such elegies are filled with confessional intonations, motives of the subjective experiences of a person who builds his life in accordance with the ethical norms of Islam. Their artistic form is arbitrary, however, in our opinion, they are very close to the lyrical genre of the Muslim confession-tawb.

One of the most striking elegies dedicated to the emotional experiences of a person is the work of Ali-Gadzhi “I repent, Almighty.” The poet uses the Muslim formula of turning to Allah with a prayer to forgive sins (astagfirullah), which becomes the core basis of the work, its refrain. The poet openly and precisely outlines the range of issues around which the lyrical hero’s experience unfolds:

How many proud khans, whose arrogance is known, Rotted in you, without words or breath. How many sages have the desires of the heart, emasculated by death, returned to you? The rhythmic repetition of a given syntactic structure, on which the entire composition of the work is based, forms the intonation of quiet sadness and sadness. The repetition of situations indicates the infinity of the world’s cycle and the frailty of everything earthly. The poet uses the artistic technique of crying to maintain and enhance the intonation of sad thoughts. In addressing ourselves, our body, and reminding the reader of the upcoming torment, we trace didactic, edifying motives. The intonation of sad reflections is supported and enhanced by another technique characteristic of the crying genre: the technique of consolation in the form of a philosophical generalization of life phenomena. Ali-Gadzhi's poetic skill polishes and ennobles the attributes of death, such as decay, decay, and transformation into dust. As a result of this, the poetic lines acquire a sad philosophical sound, and the content is enriched by the significance of philosophical maxims. All the author’s maxims, supported by specific generalized examples, come down to a philosophical generalization - a statement of the earth’s cycle, the power of the earth as a great force that equals everyone

Ideological and artistic originality of Ali-Gadzhi’s aphorisms

The attraction to new educational ideals, visible in the world of the author’s emotional experiences, in his appeal to the aesthetic values of the people, is found in the structure of the poem’s images, first of all, the image of the central character of the poem, the Prophet Muhammad.

The image of the Prophet in the poem is realized in two aspects: he is both the messenger of the Almighty on earth, the ruler, and the personification of the poet’s moral ideal. Ali-Haji achieves the artistic realization of the image of Muhammad as the messenger of the Almighty through conventional, allegorical and symbolic artistic and visual means, since his divine content did not fit into the usual framework. As in the Mawlid, the author uses vivid allegories and pathetic intonation of comparison in the poem. Thus, Muhammad is endowed with exceptional, transcendental abilities: he is a clairvoyant, has the gift of penetrating the hidden thoughts of people, constantly communicates with Allah, with the angels who accompany his exit. The symbol of holiness lies on his very appearance, radiating divine light and radiance. The leading artistic and visual means when describing the portrait of Muhammad becomes hyperbole: those who see the Prophet “become drunk with joy, then the legless ones begin to dance.” Ali-Gadzhi attracts nature to participate in the creation of a sublime atmosphere, personifying and endowing it with human qualities, i.e. using a technique characteristic of oral folk art. The personification of nature, the inanimate world is a feature characteristic of the poetic structure of the lyrics of any nation. This technique is also very popular in Avar poetry. In Ali-Gadzhi's poem, the environment lives a full life, having adopted all human qualities. This artistic technique humanizes the world, presents it in movement, dynamics, and in various manifestations. Through the interpenetration of the inanimate and the living, clarity and picturesqueness are created in poetry:

How insignificant is Zubair's feat in comparison. How helpless is Walid's son Khalid when you see him, How unsightly is Dihyatul Kalab in comparison with him. Ali, Omar, Gamzat, Zubair, Dikhatul Kalib are the names of Muhammad’s companions, who personified fearlessness, courage, perseverance, and beauty. However, the comparison with them does not follow the line of comparison: brave like Ali, courageous like Zubair, etc. (138.193) The author’s goal is to exalt Muhammad, to show his exclusivity, and he achieves it by reducing, diminishing the compared images. Endowing Muhammad with exceptional virtues, especially revered among the mountaineers, the author shows keen interest in the purely human manifestations of his character.

The image of Muhammad is built according to the type of song hero; he is endowed with folklore attributes and properties. The Prophet is the leader of a huge army, a direct participant in all military events, he is brave, courageous, decisive, the first to put on equipment and the first to rush into battle, eclipsing everyone else with his exploits.

In addition to military valor, Ali-Gadzhi endows his hero with great wisdom and humanity, responsiveness and generosity. He is a wise leader of the army, striving for discipline between like-minded people. Thus, the duel between Abbas and Hasin could have ended in bloodshed if not for the intervention of Muhammad:

All of Muhammad’s actions are permeated with the spirit of humanity and love for mankind; he is kind, cordial, and generous even towards his enemies. This can be judged from the pictures where he forgives the leader of the Meccans Abusupyan, stops his naib Khalid, who, in the excitement of battle, crushed enemies begging for mercy. After all, it was precisely as a moral religion, as a religion of goodness, peace, justice and dignity that the best minds of the East perceived Islam (Shidfar al Maari p. 148). Obviously, Ali-Gaji was more eager to create the image of a living person from flesh and blood than to embody the pillar of faith in the Prophet. This can be judged by the way the author paints a picture of the Prophet’s reverent farewell to his family, depicts a scene where the hero is shown in everyday life, as a simple person, with his human concerns: Rukalul agyluyalda, ko likiilan abuna, Qavarili ml ad bataral, tarhan gaharun Richchana. Khiazhalidal zhib baleb zobalazul tsiad giadin, Pashmanlaral ruhiazul hialal kheze gharuna. (3, 63). He said goodbye to family and friends, Freed those who were tormented under oppression. And, as blessed rain nourishes the earth, it comforted and calmed all who were sad. We can observe the image of Muhammad in various aspects and manifestations - in relation to family, to friends and relatives, to warriors and enemies, we see the different moods of the Prophet. He appears before the reader sad, crying, compassionate, laughing and triumphant. All previous Dagestan literature did not know a portrait of such breadth and versatility. Ali-Gadzhi pays great attention to the external manifestation of the Prophet’s emotions, his facial expressions, gestures: Tsotsada khaatgi kabun zingigi avaragas, Makkayalde balagun ahiun gharak gabuna.

Compassionate for the terrible grief that befell them, he shed bitter tears that left the floor wet. In the depiction of the heroes of the poem “Makka bahiyalul Turki” (“Taking of Mecca”), Ali-Gadzhi’s important achievement is overcoming the immobility of character, its static nature, characteristic of folklore. The characters in Ali-Gadzhi's poem are not the embodiment of only one principle - good or evil. The heroes of the poem are presented in dynamics, in movement and development, they make mistakes and repent. These are the images of Khatib, Abusupyan, Zharadat. Their descriptions are not yet signs of full disclosure of character, but in Ali-Gadzhi’s poem, unlike folklore, where there are no versatile characters and each image acts only as a bearer of certain qualities, high or low, where a person is shown who commits a feat or meanness, baseness. Indicative in this regard is the scene of emotional distress and the depiction of the feelings of Khatib, who tried through the spy Zharadat to convey to the Meccans a message about the impending campaign of Muhammad. The psychological state of Khatib, who realized that his betrayal was known to the Prophet, is subtly and faithfully conveyed: Kialachiogo vukiani, lan tiokikiarav avarag, Kialan kalam gabuni relankhulel giadamal. Kіigo balag ml ade shchun, gorky tіamurab mehal, Gabileseb jo tiagіun khutiana Khatiib bati al.

“My soul, my mortal body, is younger, It stubbornly does not give in to the years. There are no wrinkles on it - not like on the skin, And it stays straight - not like the back...” One day they asked Aligaji from Inkho (may the Almighty have mercy on him): “What does a person lack most?” “Reason” was his answer... The year of birth of the poet, according to A. Shamkhalov, is considered to be 1845. Ali-Gadzhi was born in the village of Verkhneye Inkho (present-day Gumbetovsky district) in the family of a simple and hardworking mountaineer Gazimagomed. Until the age of 12, the boy was raised in a family and studied at the village school of the village, then his father, according to accepted custom, sent him to study at a madrasah in another village - Miatli. After studying in Miatli for 10 years, Ali-Gadzhi returned to his native village. Soon after his return, he accepted the invitation of the jamaat of the neighboring village of Orot to the post of dibir. Then he moved to the same position in the village of Burtunay. After working there for a year and a half, at the request of the residents of the Kumyk village of Enderi, he moved to them and became a dibir in the mosque for many years (seventeen years). It is also known about Ali-Gaji that he twice made the holy pilgrimage to Mecca - Hajj, for which he received the title Haji (saint). It is known that the first trip was organized to meet the mountaineers with Shamil, who was in Mecca (approximately November 1870, when Ali-Gadzhi was working in Orota), the second trip was made by the poet already during the years of his life in Enderi. He had a wonderful voice and was famous not only as a poet, but also as a performer of his songs. The author of many lyrical and satirical poems directed against money-grubbing and hypocrisy, as well as poetic philosophical aphorisms that entered the Avar language as sayings. Ali-Gadzhi's poetry, even during the poet's lifetime, gained recognition and love of the people. His didactic poems, wise sayings and edifications, religious sermons and chants, elegies and satirical poems were widely circulated and popular. Since 1905, the poet’s works have been intensively published in TemirKhan-Shura in the printing house of M. Mavraev. They were included in the collections of Sirazhudin from Obod "Bustan Avaristan" ("Garden of Avaristan", 1905), Abdullagji from Chokh "Vag1zabazul t1ekh" ("Collection of Sermons", 1912). Moreover, along with religious instructions, these collections also included poems of a secular nature — “Grey Hair”, “Like Hungry Wolves”, “On Ignorance”, as well as didactic miniatures by the poet. In 1913, Mavraev's printing house published Ali-Gadzhi's poem "The Capture of Mecca" as a separate edition, glorifying the Prophet's historical campaign to Mecca. Ali-Haji was also known in the East, where he was published along with Hasan from Kudali, Muhamed Tahir al-Karahi and others. The poet’s poems were first published under Soviet rule by the famous Avar philologist Abdulatip Shamkhalov in the collection “Ancient Songs and Stories of the Avars” (1928) compiled by him. After a significant break in 1958, they were published in the Anthology of Avar Poetry. In 1972, the first separate collection of the poet’s works, “Nazmabi” (“Poems”), was published, and in 1995, a new collection of poems, “Asaral” (“Works”), which finally included his spiritual poetry. The Russian reader first became acquainted with the work of Ali-Gadzhi in 1934 in the “Dagestan Anthology”; later his poems were published in the collections “Poetry of the Peoples of Dagestan” (1960), “Dagestan Lyrics” (1961). *** “You carry an empty book under your arm, Use it to answer the questions of the ignorant. Start fortune-telling by the stars as soon as possible, To the delight of deceivers and healers. You throw fortune-telling stones three times, Whom do you console with your fortune-telling? After all, if you started a song for a donkey , A donkey would not be amused by a song. Let the merry tambourines and pipes ring out, The rams will not dance to the tambourine, If the wise do not touch your mind with words, Then, surely, your head is empty. You cannot touch the soulless with a soulful word, You cannot help them in their deplorable lot, And know that the donkey does not know the price And the quality of a thoroughbred horse. And the one who cleans the veal stables Hardly knows the habits of an eagle. Remember two or three funny jokes For these forest bears in their hats. Keep two in reserve -three kind words For those who are ready to cling to each other. Don’t forget - it will come in handy on the way - Keep collars for fools, And so that the bells on their necks jingle, So that they are recognized from afar everywhere. For their work, give them before going to bed: The slop goes to the donkey, and the grain goes to the horse. A barren bush that has grown in a thicket, Do not compare it with a fruit-bearing palm tree, And do not be offended in your heart at those who do not consider good to be good. And it is very funny who breathes vexation on those who do not smell the flowers. To the one with whom you will never see eye to eye, wave your hand goodbye as you leave, And don’t answer the talkers with chatter, Pass them silently and remain yourself.” (Translation from Avar by Yakov Kozlovsky) Ali-Gadzhi from Inkho is one of the brightest representatives of the brilliant cohort Dagestani poets. Just like the Dargin Omarla Batyray, the Kumyk Irchi Kazak, the Lezgin Etim Emin, Ali-Gadzhi opened a new page in the history of the culture of his people, replacing the tradition of Arabic-language literature going back centuries with the original artistic traditions of his people and thereby marking the beginning of the development Avar literature on a native language basis. Ali-Gadzhi died in 1889 in the Kumyk village of Enderi.