Magtymguly is a spiritual healer of the human soul. Magtymguly biography

Magtymguly(pers. مخدومقلی فراغی‎, Makhdumqoli Faraghi; Turkmenistan Magtymguly Pyragy- real name; "Frags"- pseudonym; 1727 or 1733 - around 1783) - Turkmen poet, classic. Son of the poet Azadi Dovletmamed.

Biography

Magtymguly was born in the village of Hadji-Govshan in the valley of the Atrek River with its tributaries Sumbar and Chendyr in Turkmenistan, in the foothills of the Kopet Dag, where the Turkmens of the Goklen tribe lived. The Magtymguly family belonged to the Kyshyk tribe of the Gerkez clan, a branch of the Goklen tribe - a sedentary agricultural tribe that was vassal to the Persian rulers.

In adulthood, the poet chose the pseudonym Fragi (separated). At the end of each poem he placed this pseudonym, sometimes his real name, as if addressing himself. This was in the tradition of poetry of his time.

He studied at a mekteb (rural school), where his father taught. Magtymguly began to read Persian and Arabic as a child, which was greatly facilitated by the home library collected by his father. Also in childhood, Magtymguly became involved in crafts - saddlery, blacksmithing and jewelry.

In 1753, Magtymguly studied for one year at the madrasah at the tomb of St. Idris Baba in Kizil-Ayak on the Amu Darya in the Bukhara Khanate.

In 1754, Magtymguly went to Bukhara, where he entered the famous Kokeltash madrasah, where he also studied for one year. There he became friends with a Turkmen from Syria named Nuri-Kazim ibn Bahar, a highly educated man who bore the spiritual title of Mawlana.

Together with Nuri-Kazym, Magtymguly went to travel through the territories of present-day Uzbekistan, Kazakhstan, Tajikistan, crossed Afghanistan and reached northern India.

In 1757, both arrived in Khiva, a major center of education with many madrassas. Here Magtymguly entered the madrasah built by the Khan of Shirgazi in 1713. People from families especially marked by the khan's favor studied here. Here he completed the course of study begun in two previous madrassas.

In 1760, Magtymguly’s father died, and the poet returned to his homeland. The girl he loved named Mengli was married off to another man whose family was able to pay the required bride price. He carried his love for Mengli throughout his life - many poems are dedicated to it.

Another blow was the death of two older brothers who were part of the embassy to the powerful ruler Ahmed Shah - they were captured. Longing for brothers is reflected in many poems.

Returning home, Magtymguly got married. He loved his two sons, Sarah and Ibrahim, very much; but the boys died when one was twelve and the other seven.

After 1760 and before his death, Magtymguly traveled to the Mangyshlak Peninsula, to Astrakhan, through the territory of present-day Azerbaijan and the countries of the Middle East.

Magtymguly significantly changed the Turkmen poetic language, bringing it closer to folk speech. He also abandoned the Arab-Persian metric, traditional for Turkmen literature, and replaced it with a syllabic system.

Memory

• In Turkmenistan, the Day of Revival, Unity and Poetry of Magtymguly Fragi is celebrated annually on May 18, which is a day off.
• In 1959, a USSR postage stamp dedicated to Magtymguly was issued.
• In 1991, a commemorative USSR coin dedicated to Magtymguly was issued.

Monuments

Monuments to Magtymguly have been erected in different cities of the world. The largest number of sculptures are located in the cities of Turkmenistan and the countries of the former USSR (Kyiv, Astrakhan, Khiva), as well as in Iran and Turkey.

In particular, a monument to the Turkmen poet Magtymguly made of concrete and natural stone was erected in the center of Ashgabat in 1971, in Magtymguly Square on Magtymguly Avenue (formerly Freedom Avenue), opposite the building of the Ministry of Internal Affairs of Turkmenistan.

Literary

musical

Composition

"Descendants remember

Magtymguly."

Prepared by:

Russian language teacher, school No. 2

Muradova M.B.

Magtymguly - creator of Turkmen

literary language.

Magtymguly updated the language of poetry:

he brought it closer to the language of the people.

The poet's poems are full of proverbs and

sayings.

Magtymguly - the first Turkmen poet,

who used goshgy in poetry as the main form of versification.

Tens of thousands of poems have been preserved in the memory of folk singers.

Magtymguly’s poems can be compared to the famous Turkmen carpets.

Magtymguly urged to respond to evil with good.

The poetry and life of Magtymguly were given to the people

The best works of Magtymguly

belong to the pinnacles of world poetry.

His name is in the same row

with the names of the great poets of the East:

Ferdowsi, Saadi, Nizami, Navoi.

Creativity of Magtymguly

The topics are very diverse.

He wrote patriotic poems,

love,

lyrical, satirical,

philosophical,

poems about animals,

nature, religion.

Magtymguly was born in 1733

in the picturesque valley of Atrek Garrygala,

which is in the southwest of Turkmenistan,

in the village of Gerkez.

The poet's family came from the Gerkez clan

Gecklen tribe. His father

Dovletmamed Azadi

was studying

farmers' labor

sewed harness and was

known as a poet.

Magtymguly's first teacher was his father Dovletmamed. Then the future poet studied at the Idris-Baba madrasah on the banks of the Amu Darya

(where the Khalach etrap is now), in Bukhara, in the famous Khiva madrasah

Shirgazi Khan.

Three years

studied at Magtymguly

in the Shirgazi madrasah.

Three years, every day,

you shared the salt with me, -

Sorry, I'm leaving

beautiful

Shirgazi!

You were my refuge

in winter and spring, -

Sorry, I'm leaving

beautiful

Shirgazi!

Magtymguly drank the cup completely

life's trials and tribulations.

He experienced hunger, separation from his beloved and homeland, the death of loved ones, the death of his sons.

All this could break a weaker person.

But, mourning, suffering,

he did not allow darkness to fill his poems,

did not humble himself, did not lose heart,

The love for people did not dry out in his soul.

In his youth, the poet was in love with a beautiful fellow villager Mengli. He dedicated wonderful lines to her. But the parents sold the girl to a wealthier man, and all his life the poet mourned the separation:

“In our dark times, love is doomed to execution.”

That's why he chose such a sad poetic pseudonym -

Fragi, what does it mean?

"disenchanted"

with happiness, with my beloved.

Biting your pink finger,

Mengli Khanum is embarrassed.

Unraveling tight braids,

Mengli Khanum is embarrassed.

I didn’t run in scarlet clothes

From the eyes of the residents of Ahal.

But she didn’t talk to us -

Mengli Khanum is embarrassed.

I want to speak, but I’m speechless,

I stand like a beggar in front of her,

Say: “Open your face!” - I don’t dare:

Mengli Khanum is embarrassed .

But Magtymguly not only tells the truth, he believes in the forces of light, believes that “my people will rise up, full of strength” and the enemy “will perish in prison in a foreign land.” And for this it is necessary for all the disparate Turkmen tribes to unite, only then can they give a worthy rebuff to the enemy.

Magtymguly had a close friend, Chowdor Khan, a patriotic warrior who, like the poet, dreamed of seeing the country free from foreigners, and the people united in the face of any enemies. He died trying to unite the tribes. According to legend, his brothers were with him. Fragi, who dedicated touching lines to them and his friend, writes:

Fragi calls out: “Where is my brother? Where is my earthly support? Where's my falcon? - Gray-haired My head is clouded, drooping.

Pitch fog is swirling, Chowdor Khan!

Friends! Who will console the warlike camp of the Gauquelins, weeping for Chowdor Khan?

While he was protecting his native lands,

The enemies did not trample the surrounding roads,

Behind the old mountain Chowdor Khan was exhausted,

And snakes swirl at your feet, Muslims!

Magtymguly in his poems praised the brave warriors for their native land. Praising courage in battle, the poet called for learning military skills.

For the honor of the country,

for your people

The horseman will die with glory.

Who is the stronghold of justice,

So eager to fight

it's time again.

According to folk stories and the testimony of travelers of the 19th century, Magtymguly died in 1789, unable to bear grief, due to the strife of the Turkmen tribes, against which he fought with all the power of his fiery words. The poet wrote:

Wanting to calm my heart,

I'll go in different directions.

But there is enmity everywhere -

the soul is darkened more than ever.

He was buried next to his father,

at the cemetery,

bearing the name Dovletmamed Azadi. It is located in the town of Ak-Tokay in Northern Khorasan, not far from the Turkmen-Iranian border.

The graves of Magtymguly and Azadi serve as places of worship.

Already during his lifetime, Magtymguly’s popularity was enormous. His contemporaries, mostly illiterate, knew their beloved poet by heart. The figurative assessment of the famous satirist Kemine reads:

“Makhtumkuli reaped the harvest from the field of poetry. All we can do is pick up randomly fallen, dropped ears of corn.”

Several films produced

about Magtymguly

In Ashgabat, there is a monument to the great Turkmen poet and thinker of the 18th century Magtymguly. The monument was opened in November 1970, on the 225th anniversary of the birth of the great poet.

It is built from basalt

and wild stone

is

one of the most beautiful

monuments.

Biography

Magtymguly was born in the village of Hadji-Govshan in the valley of the Atrek River with its tributaries Sumbar and Chendyr in Turkmenistan, in the foothills of the Kopet Dag, where the Turkmens of the Goklen tribe lived. The Magtymguly family belonged to the Kyshyk tribe of the Gerkez clan, a branch of the Goklen tribe - a sedentary agricultural tribe that was vassal to the Persian rulers.

In adulthood, the poet chose the pseudonym Fragi (separated). At the end of each poem he placed this pseudonym, sometimes his real name, as if addressing himself. This was in the tradition of poetry of his time.

In 1754, Magtymguly went to Bukhara, where he entered the famous Kokeltash madrasah, where he also studied for one year. There he became friends with a Turkoman from Syria named Nuri-Kazim ibn Bahar, a highly educated man who bore the spiritual title of Mawlana.

Together with Nuri-Kazym, Magtymguly went to travel through the territories of present-day Uzbekistan, Kazakhstan, Tajikistan, they crossed Afghanistan and reached northern India.

Magtymguly significantly changed the Turkmen poetic language, bringing it closer to folk speech. He also abandoned the Arab-Persian metric, traditional for Turkmen literature, and replaced it with a syllabic system.

Memory

Monuments

Monuments to Magtymguly have been erected in different cities of the world. The largest number of sculptures are located in the cities of Turkmenistan and the countries of the former USSR (Kyiv, Astrakhan, Khiva), as well as in Iran and Turkey.

Toponymy

• Makhtumkuli etrap is an etrap in the Balkan velayat of Turkmenistan.
• Magtymguly - gas and oil field zones of Turkmenistan.
• The streets of Ashgabat, Astana, Karshi, Tashkent, Turkmenbashi, Urgench and a number of smaller cities in Turkmenistan and other countries of the former USSR are named after Magtymguly.

Institutions and organizations

The following are named after the Turkmen poet Magtymguly:

• Institute of Language and Literature named after Magtymguly (Turkmen: Magtymguly adyndaky Dil we Edebiýat Instituty).
• National Music and Drama Theater named after. Magtymguly in Ashgabat.
• Turkmen Opera and Ballet Theater named after Magtymguly in Ashgabat.
• Library named after Magtymguly in Kyiv.

Other

In numismatics

• Magtymguly in numismatics

• Turkmen manat

Translations into Russian

• “Makhtumkuli. Favorites." Moscow. Publishing house "Fiction". 1983 414 p. Translations by Georgy Shengeli, Arseny Tarkovsky, Naum Grebnev, Yulia Neiman, Alexander Revich, Anatoly Starostin, Yu. Valich, T. Streshneva.
• "Makhtumkuli". Publishing house "Soviet Writer", B.P., Leningrad department. 1984 384 pp. Translations by G. Shengeli, A. Tarkovsky, N. Grebnev, Y. Neiman, A. Revich, A. Starostin, Y. Valich.
• “I hear my friend’s voice. Pages of Turkmen poetry". Ashgabat. Publishing house "Turkmenistan". 1985 Translation by N. Grebnev.
• Translations into English by Professor Yusup Azmun (UK)

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Literature

• Brief literary encyclopedia, M., 1972.
• Preface by A. Zyrin and M. Ovezgeldyev to the publication of Magtymguly, Poems, Soviet writer, Leningrad branch, 1984
• Nury Bayramov “The Long Road”, Ashgabat, “Magaryf”, 1986. The collection includes the story “The Long Road” (translation by Mikhail Grebnev) about Magtymguly.
• [Simashko, Maurice Davydovich] “Tales of the Red Sands”, Alma-Ata, “Zhazushy”, 1966. The collection includes the story “The Temptation of Fraga” about Magtymguly.

Notes

Links

Excerpt characterizing Magtymguly

MAKHTUMKULI(lit. name of Fragi; b. 1733, Yuzvan Kala village - 80s pp. XVIII century, Ak-Tokai) - Turkmen poet and thinker.

The only source of biographical information about the life of Magtymguly is his own poems and folk legends. Reliable written materials have not survived due to wars, tribal strife and fires. Magtymguly was born ca. 1733 in the village of Yuzvan Kala (now the village of Gyorkez, Karakalinsky district) in the southwestern part of Turkmenistan. He was born in the family of the once famous poet-shahir Dovlet Mamed, the author of many ghazals, songs, poems that have survived to this day (for example, the large poem “Free Communion”, signed with the pseudonym Vagiz Azadi). The beginning of Magtymguly’s life dates back to the time when the Iranian Shah Nadir (Turkmen by origin) ended his campaigns of conquest, and the Turkmen tribes and clans, united in the fight against the invader, again began to live in discord and civil strife. The poet received a good education, graduating from the Shirgazi madrasah in Khiva, continuing his studies at the Idris Baba madrasah (in the village of Kyzyl-Yayak, now Chardzhousky district) and at the Kokeltash madrasah in Bukhara. He traveled a lot, visited Iran, Afghanistan, and Azerbaijan.

Returning to his homeland, the poet took up his own small farm, was a teacher, and a jewelry maker; he learned this craft while still in Khiva. But his main occupation, of course, was poetry. Unfortunately, Magtymguly’s manuscripts have not survived to this day, and literary scholars and historians have to use lists of his works, lists that are incomplete and distorted. This is what makes writing a detailed biography of the poet difficult. The circumstances and year of Magtymguly’s death are also unclear. Popular memory places this date at the end of the 18th century.

However, the famous grave where the great Turkmen poet is buried is in the town of Ak-Tokay in northern Khorasan. He is buried next to his father in the mausoleum named after Dovlet Mamed Azadi. This mausoleum became a place of worship for all Turkmens.

Certain comments are needed on Magtymguly’s poems, complex philosophical works written more than two centuries ago in poetic language, which is very different from today’s not only in vocabulary, but also in the worldview itself, for which an objectified idea of ​​time was not characteristic. historicity, sequence of events. In the poetry of the East, the hierarchy of values ​​was placed in first place, which led to didactics, and the ornamental style and symbolism of images were designed to affirm this hierarchy as a spiritual guideline. Purity of spiritual life and justice were considered the highest values, in comparison with which luxury, power, and carnal pleasures are nothing. A person must be elevated above everything transient and sinful, reminding her that she is the creation of Allah. And in this regard, the poet is, first of all, an educator, a great moralist in the positive sense of the word. And it is not surprising, in all of M.’s work there is a very noticeable moralizing tendency. Feudal man was completely subordinated to the universals of Islam, which shaped his worldview. According to the earthly social system, which would be reflected in the ideal spheres, where the human personality acquired harmony as a kind of replenishment of its earthly: inferiority and humiliation of dignity, it also received a spiritual self before Allah in the other world:

The world is treacherous. The days are flying.

Eternity - there, here - oblivion.

And life is wasted -

Everyone is looking for something somewhere.

For a long time, life is like a moment,

It won't stop us.

The swan flies high -

Looking for the blue lake.

Remember, Magtymguly,

That you are a guest on this earth.

Don't live in bondage -

Let the heart search for a dream.

(“Let him search for his homeland.” Translated by P. Movchan

Magtymguly, like every poet of the East, constantly operates with five emotional, moral and ethical categories-states: joy, anger, desire, fear, grief. The sequence of these states is different, there is a different load and a different assessment that the poet gives them. Joy can be both positive and negative, it can be followed (in the plot of the poem) by grief or anger, and fear can cross out desire..

But, regardless of the variations of these five emotions, they are the main, so to speak, characters in the poetry of the East in general and specifically in individual works of Magtymguly. It should also be taken into account that the poet relied not only on creative and stylistic canons, existing traditions of versification, but also on certain philosophical systems and Islamic doctrines that were created as a result of the synthesis of the main religions of the East: Judaism, Buddhism and Christianity.

It is known that Magtymguly was a Sufi. And Sufism adopted from Buddhism the doctrine of three eras through which the “Law” passes, or creeds. All three stages - from the first "True Law", when the teaching burns in the souls of believers, through the second, which is called "The Likeness of the Law", in which the teaching becomes orthodox, and up to the era of the "End of the Law", the end of all that is true, - were depicted in the works of Magtymguly. The poet moved from an unshakable faith in the Truth (“the Law”) to the fight against the substitution of the law and complete condemnation of the era of the “End of the Law”: “I can’t understand, is this really the end of an age?”

The formation of Magtymguly's philosophical views was undoubtedly influenced by the theosophy of Sufism, a religious-mystical movement that arose on the threshold of the 9th century. Sufiism was interesting because, noted academician A. Krymsky, that it acted not as a religion, but as everyday asceticism, secular monasticism, monasticism without staying in a monastery - that is, as the most profitable form of life for that time. Sufiism was brutally persecuted, many of its followers were executed. Almost all the outstanding poets of the East, in particular Saadi, Jami, Sanai, Attar, Gafiz, Rumi, Nizami, Navoi, were associated with the ideas of Sufism and professed them. Since Sufism does not proceed from the idea of ​​rational comprehension and mental comprehension of the absolute, but from ecstatic fusion with it, the main symbol of Sufi poetry becomes the idea of ​​love. That is why it is characterized by a metaphorical state of knowledge of the world and man in it, which is why poetry is based on symbols, metaphors, allegories, revelations and intuition.

To substantiate their ideas, poets, through infringement, were forced to resort to conditionally allegorical terminology of an erotic nature, which was a salvation for all freethinkers and atheists who preached views incompatible with the official morality of the theocratic system. In Sufi symbolism, “beloved,” “brother,” and “darling” mean “God”; “wine”, “blooming garden”, “feast” - these are all mystical impulses of the soul towards the Almighty; “date” means merging with him. “The poet is lyrically bored, why is there such a cruel and cold heart in his dear sweetheart, why does she not pay attention to the one who sincerely loves her, but in fact,” writes A. Krymsky, “it is the ascetic-ascetic who groans, why so long no mystical inspiration from God and ecstasy come to him.” The main orientation of Sufiism was to live for the sake of a future ideal life, because this physical world is only a mirage, an illusion, and everyone who has taken the path (tarikat) of Sufiism must go through, under the guidance of a pir (murshid), three main stages on a long path, which has seven stages-sites (makam). And going through these stages and steps is mandatory. Only those who managed to renounce their “I” and plunge into the ocean of the absolute will be able to reach the last stage (first annihilation in the absolute, then the property of Eternity by merging with the absolute and dissolving in it). All these stages can be clearly traced in M.'s poetry.

Magtymguly nowhere directly names the name of his spiritual mentor, although, according to ancient customs, taking the path of dervishism without a teacher was considered a sinful act. In one of the poems (“He brought his soul in a dream”), Magtymguly mentions the name of the founder of the dervish order, B. Naqshbendi, who took as a basis the teaching of strict adherence to the requirement of fakr (voluntary squalor).

Naqshbendi became a model, a spiritual guide for Magtymguly, because it was he who argued that the most important task of a person is to serve his neighbor; a person should live as if she were alone with the whole world all the time. Solitude in public, wandering in the homeland, externally with people, internally with God - all these instructions were internalized by Magtymguly and entered, one might say, into the poet’s flesh and blood.

He sought to comprehend the changing world both in thought and in spiritual self-destruction. And sometimes Magtymguly’s calm contemplation explodes from within from an unsatisfied thirst for the ideal. The poet states the dramatic impossibility of comprehending existence in harmony and integrity. There is a noticeable contrast here between theosophical postulates and purely human considerations and possibilities. The thirst for the ideal (“Give rain, rain, my king”) is unquenchable, and it is through this that the universalism of creative individuality is affirmed. The poet feels like a demiurge. Creative will liberates the soul, gives a feeling of fullness of life, fullness of freedom: Magtymguly managed to enrich his works with a wide equality of content, reproduce the most equal phenomena of life, comprehensively illuminate it, saturate the seemingly pointless lyrics with an unlimited amount of details. The form of his poems is perfect, their musicality is due to the widespread use of equal repetitions, in particular the masterful use of redif, which is almost impossible to reproduce in translations, because according to the ancient rules of poetics, redif should naturally arise from the entire line, and not be artificially grafted. Redif enhances the melody of the verse. This requires high skill, especially since quite often the rima consisted of homonyms, words that had at least three distinct meanings. The poet filled ancient classical forms with deep meaning. The life and meaning of a literary work for Magtymguly is not in the form, as most Eastern poets believed, but in the depth of its content. Magtymguly used, like no other of his predecessors, the Vershov technique developed by Persian and Arabic literature for his native language, without also abandoning folk forms, enriching Turkmen poetry not only with formal expressions, but also with various Arabic and Persian concepts. He introduced a powerful stream of strong-willed, imperative principles into poetry, bringing poetry from contemplative alegorism to the level of violent personal passions. In this sense, his poetry is innovative, individual, because it comes from his own experience, from his poetic “I”, which is certainly present in every poem, replaced by his own name and the worldly name of the Sufi - Fragi, which means: “sad”, “divorced” , "eliminated". Subjectivity of opinions and the drama of personal fate permeate M.’s works and testify to the powerful individualization of the poet’s consciousness. Magtymguly’s poetics emerged from the elements of folklore, preserving both song freedom and rhythmic and intonation looseness, synthesizing into a single whole both direct life impressions, folk symbols, and book maxims. Magtymguly adopted from Bakhshi the simplicity of expression, ease of song, irony and sarcasm.

Here it is appropriate to compare the beginning of Magtymguly’s creative path with the traditional sleepovers of manaschi and bakhshi. The performers of the heroic epic “Manas,” for example, unanimously claim that they chose their profession not of their own free will, but because Manas appeared to them in a dream and ordered them to sing about his exploits. Manaschi and bakhshi are obsessed with song, and here one can hear echoes of the past, when the ancient ozan or bakhshi was not only an ospivoch, but also a shaman, a spellcaster, like the wise Kur-ugol-ata.

And here is how Magtymguly describes the beginning of his work in one of his poems: “at Midnight four horsemen appeared to me.” He says that prophets and saints appeared in his dreams, blessed him, presented him with a drink in a cup, thanks to which the poet began to penetrate into all the depths of the world. They thus gave him a creative gift, which allowed the poet to comprehend the essence of things and exhort people on the right path. Here the story of manaschi is repeated, with the only difference that Magtymguly has a tangible Muslim overtones and is inspired not by the legendary warriors, but by Muslim saints.

Magtymguly is the heir to literary and folklore traditions. Many of his poems are autobiographical in nature, although, due to the lack of information regarding the poet’s life path, it is difficult to determine which motives and images are caused by real events in his life, and which are poetic fiction. It is also difficult to determine, knowing the organic connection between the poet’s work and folklore, which proverbs and sayings were borrowed by him and which. on the contrary, they entered the people's treasury from the poet's works. Magtymguly’s peculiar style of writing, prone to exaggeration, semantic paradoxes, when the poet easily jumps from a lyrical theme to a genre theme or from poignant everyday, social pictures moves on to broad philosophical generalizations, drawing on applied quotes from classical literature and Turkmen history to develop the theme , from native songs - in contrast to their predecessors, who wrote in the old book language (Turk), incomprehensible to the people, resorting to archaic spelling and transcription, which was not typical for the living sound of the Turkmen language.

Magtymguly’s great merit is in transforming the poetic language and in reforming the written Turkmen language. Magtymguly’s artistic speech has become a model and norm for Turkmen poets in the creation of a literary style, an effective means in uniting Turkmen tribes, in their struggle for unity and national independence.

The content of Magtymguly's poetry can only remain on the surface if one does not use the real key to his poetics, the poetics of constant double meaning, wordplay, and the use of conventional vocabulary to express states of consciousness and cosmic phenomena. The state of love becomes like a material matrix, which gives rise to spiritual phenomena, the power of consciousness and the power of immortality. Here it is not just love that is a symbol of the spiritual, for in practice itself the first becomes the second, it is the desire of the human spirit to merge with the desired ideal. Love is of exceptional importance for Magtymguly as a necessary and unchangeable prerequisite for the improvement of all things, the improvement of the heart and the world. The poet strives for the ideal, and highly models: for him fairy-tale heroes, “book” caliphs, and great men of the world: Rustem, Iskander, Ali, Farhad, Naqshbendi, Chovdur Khan...

For Magtymguly, a person is a form capable of limitless self-improvement, a form that can contain the fullness of absolute content. Magtymguly, like many poets of the East, felt that in the depths of the world itself there is the truth of ideal aspiration, therefore the appearance of his beloved seems to reflect the inner essence of absolute beauty. But this is not the truth of a frozen reality, but the truth of the formation and development of the human spirit. And the poet finds ways to a perfect synthesis, to the image of his beloved Mengli, where the earthly and heavenly are crossed, as in Dante’s Beatrice. That is why there are no individual features in her image; everything is general, imaginary, stereotypical. There is no drawing, and instead there is a prayerful prediction of the ideal, the path to which lies through consistent self-improvement, through intermediate stages of purification and ascent of the soul, through love. The image of Mengli, like most of the key images in Magtymguly's poetry, is ambiguous; it will be understandable to us only on the premise of complete reflection of inner beauty into outer beauty. External beauty is not a shell, but internal harmony is brought out, which cannot be taken by force, which can only be achieved by love. Love is certainly accompanied by suffering, because it is in love that a person gets rid of his selfhood. Love has its meaning in overcoming selfishness and recognizing not only oneself, but others, as an absolute value. In love, a person becomes closer to the truth, before all others, in it the gap between “I” and “you” is overcome. Magtymguly never reaches direct formulations of these postulates; they seem to be encrypted for initiates, protected by poetic images from religious orthodoxy.

Individual poems of Magtymguly were translated into Ukrainian by P. Tychyna, V. Sosyura, M. Rylsky, L. Pervomaisky, V. Bychko.

To the question about the biography of Magtymguly asked by the author Neurologist the best answer is ...Sozum anlan yok diyip, umsum oturma,
Jahan gindir, chendan bilen-de bardyr.
Magtymkuli (MAKHTUMKULI) - Turkmen poet of the 18th century. , who wrote under the pseudonym "Fragi".
The years of birth and death are unknown, but there is a lot of information about him in handwritten sources and folk legends. Based on them, it can be assumed that Magtymguly was born in the late 1720s or early 1730s. in Turkmenistan in the Kara-Kala region. His father was the famous poet and religious thinker Dovlet-Mamed Azadi (1700–1760), who had a serious influence on his son.
He grew up on the banks of the Gurgen and Atrek rivers, in places where Turkmens lived for a long time (Makhtumkuli himself came from the Goklen tribe). Initially he attended a rural school, where his father was a teacher, but, endowed with considerable abilities and perseverance, Magtymguly completed primary school early, began helping his father with housework, herding cattle, and cultivating the land. Later he became an excellent jeweler and silversmith. He received further education in the cities of Kerki and Bukhara, completing it in the city of Khiva at the Shirgazi madrasah. He dedicated poems to him, in which he gratefully recalled the three years spent within the walls of this educational institution.
The dramatic turns of his fate left an imprint on his worldview and creativity. Mengli, the girl whom Magtymguly loved, was given to a rich groom, who paid a large bride price. The poet, as legend has it, married the widow Ak-Kyz some time later; their two sons died in childhood. Judging by the poems, Magtymguly was in Iranian captivity; in addition, in some poems he remembers his missing brother and his separation from him, which lasted nine years, which, apparently, is also connected with the captivity of the poet himself and his loved ones.
The cruelty of the conquerors and the tragedy of many peoples - the Iranian Shah Nadir repeatedly devastated Central Asia, Afghanistan, India and the Caucasus - also became the reason for his pessimistic moods, which were reflected in his poems. Having traveled a lot, knowing oriental languages ​​and customs, he saw with his own eyes the consequences of devastating campaigns. And the attack of other enemies, the Kizilbash robbers, who captured Magtymguly and his relatives, became the reason that a considerable part of the poet’s works was lost - his manuscripts were thrown into the river.
It is unknown how much Magtymguly wrote (autographs have not survived; even the names of the poems published in the collections were given not by the author, but by the compilers). Now the corpus of his works numbers more than four hundred units (poems, small lyrical and lyric-epic poems), the total volume of which exceeds ten thousand poetic lines.
Many ideas and conclusions in Magtymguly’s works are drawn from the writings of his father, who was not only the author of lyrical poems and the didactic poem Behisht-nama, but also a treatise in verse, unique for Turkmen literature, Vagzi-Azad (1753–1754). Thoughts about the structure of a happy and fair state, expressed in this treatise, were then developed by Magtymguly. He devoted considerable attention to issues of patriotism and love for his native people; he also had pronounced satirical motives, reflected, for example, in the poem Please, which became an integral part of folklore.
The works of Magtymguly are loved by the people, transmitted by musicians and storytellers, bakhshis (largely thanks to them, the master’s poems themselves have been preserved) largely thanks to the new poetic language developed by him. He abandoned the difficult-to-understand book language, which was replete with barbarisms and archaisms (Arabisms, Farsisms, Chagataisms). His verse is close to folk speech, built not on the Arab-Persian metric, but on the folk syllabic system. That is why Magtymguly’s works were adopted by the people, a significant part of his lines became proverbs and sayings. (At the same time, in his poems a huge place is occupied by conditionally abstract images characteristic of Eastern poetry).
Legends about Magtymguly are an integral part of Turkmen culture. So, according to