The wreath of sonnets in Tabasaran literature: the experience of turning to a non-national genre

UDC 821.351-1+792.8
DOI 10.20339/PhS.5-26.120

Mallaliev Gulakhmed N.,

Candidate of Philological Sciences, Researcher

G. Tsadasa Institute of Language, Literature and Art of

the Dagestan Federal Research Center of the Russian Academy of Sciences (Makhachkala, Russia)

https://orcid.org/0000-0002-9352-6049

e-mail: gyu76@yandex.ru

The article examines for the first time the functioning of the wreath of sonnets genre in Tabasaran literature through the works of Yusuf Bazutaev (“The Tree of Life”), Abduragim Abdurakhmanov (“The First Feeling”), and Elmira Ashurbekova (“To the Heroes of Taverns”). It is shown that Tabasaran poets’ turn to this strict strophic form resulted from the all-Dagestani trend of the 1970s–1980s aimed at mastering the compositional forms of European poetry. Various authorial approaches to solving the genre’s key problem — maintaining a balance between complex formal organization and thematic content — are analyzed. A direct connection is revealed between the artistic style of the wreaths of sonnets and their themes: philosophical and love themes are realized through a system of concentric images (time, life, mother, memory of the heart), while socio-ethical issues are addressed through the technique of travesty. It is established that, despite occasional formal deviations from the classical canon (imprecise rhymes, disruption of stanzaic structure), each of the examined wreaths of sonnets consistently embodies the genre’s core principle — the recreation of a model of cyclic experience through the close interaction of architectonics and multi-layered content. The conclusion is drawn that the adoption of a non-national fixed form became for Tabasaran authors not a mechanical borrowing, but a field of creative experiment in organically combining European poetic technique with national imagery.

Keywords: wreath of sonnets, Tabasaran poetry, magistral, sonnet lock, rhyme scheme, travesty, genre canon, cyclic experience

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