The monumental epic of the Kyrgyz people “Manas” is rightly recognized as an encyclopedia of the philosophical, ethical, and artistic views of many generations of the Kyrgyz people. In terms of its volume, “Manas” has no equal among the world-renowned epic tales. The Academy of Sciences of the Kyrgyz SSR has collected recordings of more than 40 versions of this monumental trilogy.
The recording of the epic continues to this day, with the total volume of recorded versions amounting to about 288 printed sheets — nearly 3 million lines of verse. The scientific preparation of a text comprising 125,000 lines of verse has been completed for publication in Moscow in both Kyrgyz and Russian languages.
The epic “Manas” will enter the library of selected works of world literature.
The first discoverer of the epic “Manas” was the famous Kazakh enlightener of the last century Chokan Valikhanov. The writer and geographer S. Markov, upon learning of the discovery of this unique monument of world folklore made by Chokan Valikhanov, called this fact a discovery akin to finding a country.
Ch. Valikhanov spoke of the epic as follows: “Manas is an encyclopedic collection of all Kyrgyz myths, tales, and legends, brought together at one time and grouped around one figure — the hero Manas. It is something like a steppe Iliad. The way of life, customs, morals, geography, religious and medical knowledge are expressed in this vast epic.”
The first person to attempt to record all the episodes of “Manas” and express his thoughts on this epic in a scientific manner was the Russian scholar, renowned Turkologist, academician V. V. Radlov. The materials he recorded were published in 1885 in Kyrgyz and German languages.
Among the scholars who showed scientific interest in the texts of “Manas” even before the October Revolution was the Hungarian scholar G. Almasy, who published excerpts from the epic in 1911 in Budapest in German.
A special place among the researchers of “Manas” belongs to the outstanding Kazakh writer, folklore expert, and prominent scholar M. Auezov, who actively worked in this field from the late 1920s until the last years of his life.
In our republic, great importance is attached to the scientific study of the epic “Manas.” A special sector for “Manas” operated at the Institute of Language and Literature of the Academy of Sciences of the Kyrgyz SSR. Its scientific staff studied the genesis of the epic, its connections with the folklore of related neighboring peoples, the poetics of the epic, and its variants.
The creators of “Manas” are talented individuals from the people. They are also the keepers of the epic, passing its texts from generation to generation. The storytellers of this epic are called “manaschi” in the folk tradition. Performing the epic is their main profession. Manaschi not only repeat the known plot but, thanks to their poetic talent, convey it in their own words, composing details in their own way and explaining individual phenomena.
Today, the biographies of more than 40 storytellers are known to science. The variants and works of two great manaschi — Sagymbai Orozbakov and Sayakbay Karalaev — are the best studied.
The name of the outstanding storyteller of the Kyrgyz heroic epic “Manas,” the People's Artist of the Kyrgyz SSR, and the manaschi of the Soviet generation Sayakbay Karalaev is widely known among the people. The great connoisseur of world epics Mukhtar Auezov called him a “legendary epic,” a “modern Homer,” and a “rhapsodist of the 20th century.”
Sayakbay Karalaev was a living dictionary of the Kyrgyz language, an encyclopedia of the Kyrgyz people. He could have detailed the history of the Kyrgyz people starting from the 10th century, and his narration would be as vivid and colorful as a beautiful work of art.
From the words of Sayakbay Karalaev, one of the versions of the epic “Manas” was recorded, which contains over half a million lines of verse. This exceeds the volume of the “Iliad” and “Odyssey” by 20 times, “Shahnameh” by 5 times, and “Mahabharata” by 2.5 times.
“Manas” was the first artistic work of the Kyrgyz written on paper, published in print, and translated into other languages.
The epic heritage of the Kyrgyz people is immense. In addition to the epic “Manas,” the people are also familiar with 15 other epic poems of so-called “small forms” (“Kurmanbek,” “Er-Toshtuk,” “Oldzho-bai and Kishiimdzhan,” “Janyl-Myrza,” etc.). They carry the people's representations of heroism and the hero, the struggle for freedom, the independence of the Motherland, the human being, the dream of freedom and justice.
Toktogul Satylganov (1864—1933) is the most outstanding of the Kyrgyz akyns of the late 19th and early 20th centuries, the founder of Soviet Kyrgyz literature, and the teacher of an entire generation of Soviet akyns. The pre-revolutionary freedom-loving poems of the akyn aroused the wrath of the bai and mullahs, who cruelly persecuted the poet. On a false denunciation in 1898, the court sentenced the akyn to death, which was commuted to hard labor in Siberia. In 1903, with the help of Russian friends, Toktogul escaped from exile and, with great difficulty, made his way back to his homeland.
Toktogul was the first of the folk akyns to welcome the Great October Revolution and became not only the herald of a new era but also an active fighter for the cause of the revolution. His poetry was repeatedly published in his native language — collections “The Poems of Toktogul” (1938), “Poems” (1940), “Selected Poems” (1976), “Collected Works” in two volumes (1964, 1968), and others.
In Kyrgyzstan, many works have been created depicting the image of the great Toktogul: his life and creativity are narrated in the poems of K. Akiev “Toktogul,” “In Memory of Toktogul,” in the historical and lyrical poem of T. Kasymbekov “Alimkan,” in the “Ode to Toktogul” by S. Fixin, in the opera by V. Vlasov, A. Maldybaev, and V. Fere “Toktogul.”
The akyn is honored with the symphonic poem by V. Vlasov “The Akyn Sings of Lenin,” quartets “Toktogul,” “Alimkan,” and “Festive Overture” by A. Maldybaev and M. Abdrayev. A feature film “Toktogul” (1959, directed by V. Imalaev) was shot at the “Kyrgyzfilm” studio.
Toktogul did not write songs but composed and performed them orally, accompanying himself on the komuz; the texts of his works were not recorded during the akyn's lifetime. In the 1930s, a special decision was made to commemorate the 70th anniversary of the birth of the folk singer, and active work began to collect and record his songs. Most of the songs were recorded from the words of akyns — students of Toktogul.
In Russian, selected works of Toktogul were published not only in Frunze but also in Moscow (twice).
In 1964, on the 100th anniversary of the akyn's birth, a collection “The Wreath of Toktogul” was published in Russian. The book includes memories of Toktogul, meetings with him by his students — akyns Togolok Moldo, Kalyk Akiev, Alymkul Usenbaev, writers Temirkul Umetaliev, Kasymaly Bektenov, composer and komuz player Karamoldo Orozov, and others.
In 1964, the State Prize of the Kyrgyz SSR named after Toktogul was established in the field of literature, art, and architecture. The first laureates were T. Abdumunov, A. Tokombaev, A. Toktomushev, Ch. Aitmatov, K. Malikov, and the researcher of Toktogul's musical heritage, musicologist V. Vinogradov.
The name of Toktogul was given to the State Philharmonic of the Order of the Red Banner of Labor, a city, a district, a collective farm, libraries, schools, and streets.
The People's Poet of Kyrgyzstan Aaly Tokombaev is considered the founder of Kyrgyz Soviet literature. His creative path is closely linked to the most important milestones in the history of his native literature. The poet's first poem was published on November 7, 1924, in the first issue of the first Kyrgyz newspaper “Erkin-Tuu.” Since 1927, he has been leading the literary circle “Kyzyl Uchkun.” In 1931, at his initiative, the magazine “Chabuul” was organized. Thanks to him, various genres of poetry entered the national literary use: agitation marches, messages, sonnets, elegies, and satire. He developed the genre of the poem and became the creator of a complex epic form — the novel in verse. His pen is attributed to dramatic stories and socio-domestic drama.
For the novel in verse “Before Dawn,” the poet was awarded the State Prize of the Kyrgyz SSR named after Toktogul in 1967.
The People's Writer, Honored Artist of the Kyrgyz SSR K. Djantoshev belongs to the cohort of pioneers of Kyrgyz prose and dramaturgy. The writer's creativity is characterized by his main book — the epic canvas “Kanybek,” one of the first Kyrgyz novels written in the spirit of romantic realism.
K. Djantoshev is also known in the republic as a translator of Nikolai Ostrovsky's novel “How the Steel Was Tempered,” A. N. Ostrovsky's play “The Dowry,” and other works.
The heroic drama “Kurmanbek,” the play “Alim and Maria,” “Dardash,” and others enjoy great popularity.
The People's Writer of Kyrgyzstan, known to readers far beyond his republic, in many foreign countries. One of the pioneers of the written, professional art of words of his people. The creator of the first national novel. The first writer in Kyrgyz literature to be awarded the high title of laureate of the State Prize of the USSR (for the novel “People of Our Days,” 1948). Academician of the Academy of Sciences of the Kyrgyz SSR. The author of a number of major prose works — novels and stories, essays, plays, poems, and epics, literary-critical and journalistic articles, which have firmly entered the golden fund of Kyrgyz Soviet literature...
All these words refer to the oldest writer Tugelbai Sydykbekov. His works “Among the Mountains,” “Temir,” “People of Our Days,” “Women” have been translated into Russian, Ukrainian, Uzbek, Kazakh, Azerbaijani, Lithuanian, Latvian, Tajik, Turkmen, Estonian languages, as well as into some foreign languages: Bulgarian, Hungarian, Polish, Romanian, Slovak, and Czech.
The first page of modern Kyrgyz prose was the story by Kasymaly Bayalinov “Adjar,” which was published in 1928.
The People's Writer Kasymaly Bayalinov is also the author of the stories “On the Shores of Issyk-Kul,” “The Red Banner of Naryn,” “I Enroll in the Bolsheviks.”
For almost two decades, the Kyrgyz prose writer created a significant epic canvas — the trilogy “Brotherhood” (from 1958 to 1974). On its pages unfold the events of the pre-revolutionary and post-revolutionary years in Kyrgyzstan, the struggle of the people for the establishment of Soviet power.
Imagery and high emotionality are characteristic features of the creativity of the well-known Kyrgyz poet and playwright Jusup Turusbekov (1910—1943). He entered the history of Kyrgyz literature as the author of the first dramatic work — the play “Ajal orduna” (“Not Death, but Life”). After its staging in 1939 in Moscow, he was awarded the Order of the “Badge of Honor.”
The poet's lyrical verses (books “The Poems of Jusup,” “Joyful Youth,” “Fatherland,” “Song and Bullet”) are greatly loved by readers.
The Kyrgyz reader first read A. S. Pushkin's “Stone Guest” in the translation of Jusup Turusbekov.
Before the revolution, the Kyrgyz people knew neither theater nor dramaturgy. The first Kyrgyz plays were “The Wretched Kakey” by M. Tokobaev, “Alim and Maria” by K. Djantoshev. In the 1930s, the first musical dramas in Kyrgyz were written by J. Bokonbaev “Golden Girl,” D. Turusbekov “Not Death, but Life,” and the comedy by R. Shukurbekov “Japalak Jatpasov.”
Kyrgyz dramaturgy is represented by the names of such eminent playwrights as the Honored Artist of the Kyrgyz SSR, laureate of the State Prize of the Kyrgyz SSR named after Toktogul T. Abdumunov.
Performances of his plays “Ashirbay,” “Narrow Gorge,” “Not Subject to Appeal,” “Who Laughs Last,” “Love and Hope” are very successful with audiences.
In the ominous year of 1941, from his parental doorstep, a twenty-year-old youth, like thousands of his peers, stepped onto the military path Suyunbay Eraliyev. Here, at the front, the muse of Suyunbay took her timid steps and received her combat baptism.
He wrote in the breaks between battles, during rests, in moments of calm. He wrote about war, about fire and death, about hatred for the enemy. The war left a deep mark on both the life and creativity of S. Eraliyev, and recently the poet often turns to his front-line memories.
The books of S. Eraliyev published in Russian, “Earthly Time” (1973), “Monument to the Sun” (1978) open with poems about war. For the last collection, the author was awarded the Gold Medal named after A. A. Fadeev. Works with a military-patriotic sound occupy a prominent place in the poet's translated collections “Kindness” (M. 1977), “Shining Pass” (M. 1981), “Selected Works” (M., 1981).
The Kyrgyz poet also paid tribute to the military theme by translating into his native language the famous “Book about the Fighter” by A. Tvardovsky — the poem “Vasily Tyorkin.”
Chinghiz Aitmatov — Hero of Socialist Labor, laureate of the Lenin and State Prizes, People's Writer of the Kyrgyz SSR. In 1963, he was awarded the Lenin Prize for the collection “Tales of Mountains and Steppes.” In 1968, for the story “Farewell, Gul'sary!” he was awarded the State Prize of the USSR, and in 1976 for the story “Early Cranes” — the State Prize of the Kyrgyz SSR named after Toktogul.
The cinema has adapted Ch. Aitmatov's stories “The Camel's Eye” (“Heat,” “Kyrgyzfilm,” directed by L. Shepitko, 1963), “Mother's Field” (“Kyrgyzfilm,” directed by G. Bazarov, 1967), “Jamilya” (“Mosfilm,” directed by I. Poplavskaya, 1969), “Farewell, Gul'sary!” (film “The Run of the Trotter,” “Mosfilm,” directed by S. Urusevsky, 1969), “My Little Poplar in a Red Scarf” (film “I Am Tian-Shan,” “Mosfilm,” directed by I. Poplavskaya), “Little Soldier” (“Kyrgyztelefilm,” directed by E. Urazbaev), “Red Apple” (“Kyrgyzfilm,” directed by T. Okeev), “White Steamboat” (“Kyrgyzfilm,” directed by B. Shamshiev), “Early Cranes” (“Kyrgyzfilm,” directed by B. Shamshiev), and others.
Many of Ch. Aitmatov's stories have also found life on the stages of the country's theaters. Based on the story “My Little Poplar in a Red Scarf,” composer V. Vlasov created the ballet “Asel,” M. Raukhverger wrote the opera “Jamilya,” and K. Moldobasanov created the ballet-oratorio “Mother's Field.”
One of the many facts that can testify to the wide popularity of Ch. Aitmatov abroad is that the Department of Asia and Africa of the German State Library in Berlin compiled a bibliographic index of Ch. Aitmatov's works published in the GDR. It contains 29 titles of the writer's works published both separately and in periodicals of the GDR, 20 titles of his journalistic articles that appeared in collections and periodicals, 50 articles about him, including the dissertation by Irmtraud Guchke “Man and Nature in the Works of Chinghiz Aitmatov,” 56 reviews of individual works and films based on the works of the People's Writer of Kyrgyzstan.
The works of Ch. Aitmatov have been translated into almost all languages of the fraternal peoples of the country, as well as into the languages of 80 countries around the world.
The People's Writer of Kyrgyzstan Chinghiz Aitmatov is the only representative of the USSR elected as an academician of the European Academy of Sciences, Culture, and Arts, which is located in Paris.
A significant place in the work of Mara Baidzhiev, Honored Artist of the Kyrgyz SSR, is occupied by dramaturgy. Ch. Aitmatov called M. Baidzhiev “one of the most well-known representatives of the new literary generation,” noting that his creativity “was formed in a complex process of combining national traditions with the achievements of a unified multinational Soviet literature and the experience of world culture.”
The moral problems are at the center of the playwright's attention. The play “Duel,” staged in dozens of theaters in our country and abroad — in Bulgaria, Hungary, and Poland, enjoys the greatest success. About honor, duty, and male friendship is the play “We Are Men.” A television play was filmed based on this play. The writer also speaks out against philistinism and indifference in the plays “The Groom and the Bride,” “A Holiday in Every Home.”
The story of the creation of the story Sh. Beishenaliev “The Horned Lamb” is interesting, telling about the life and concerns of a little Kyrgyz boy and his charge — a horned lamb.
This story was born as a response to the request of a four-year-old English girl, Victoria Smith, whose parents introduced her to a previously published book by the same author “The Horned Lamb.” “I thought for a long time about Victoria's suggestion,” admits the children's writer. “Finally, after four months, I replied that I would try to write another story about the same lamb that lost its horns and, if Victoria did not mind, I would dedicate the book to her. Victoria did not mind and, in my opinion, gladly sent her consent. Since then, we have been corresponding...”
The chronicle of the Great Patriotic War is an inexhaustible theme for writers. It is widely reflected in Kyrgyz literature as well. The battle battles, the participation of Kyrgyzstani in the Great Patriotic War are vividly and expressively captured in the novel by U. A. Abdukaimov “The Battle,” in the stories of S. Dzhusuev “From Forest to Forest,” “In the Fire,” and others. The lives of the rear, the labor feats during the war years are dedicated to the works of Ch. Aitmatov “Mother's Field,” “Jamilya,” “Early Cranes,” the novels of D. Mavlyanov “Clear Sky,” S. Omurbayev “Stormy Days,” T. Sydykbekov “People of Our Days,” Sh. Sadykbakassov “Days,” the stories of K. Bayalinov “On the Shores of Issyk-Kul,” O. Orozbaev “Bridge as a Hair” and many others.
A powerful factor in the development of Kyrgyz Soviet literature at all stages of its history is Russian literature. Thoughts on its invaluable role were well expressed by Ch. Aitmatov in one of his articles, emphasizing that “many national literatures originate from Russian literature itself, from its flesh and spirit,” that “if there were no Russian literature, there would be no modern Kazakh, Kyrgyz, Turkmen, Karakalpak, and many other literatures.”
The beginning of artistic translation in Kyrgyz literature was laid by the oldest writer Kasymaly Bayalinov. In 1925, the poem by M. Lermontov “Three Palms” appeared in Kyrgyz, and in 1927 — the story by M. Gorky “Makar Chudra.”
Currently, all the best works of Soviet literature have been translated into Kyrgyz and published in millions of copies: “Siberia” by G. Markov, “Blue Horse” by G. Mustafin, “My Dagestan” by R. Gamzatov, “Quiet Don” and “The Fate of a Man” by M. Sholokhov, books by A. Fadeev, N. Ostrovsky, R. Rozhdestvensky, V. Shukshin, V. Bykov, and many other writers and poets.
Kyrgyzstan, along with other republics, currently occupies a prominent place in the world as a publisher and translator. The works of Toktogul, Sh. Beishenaliev, T. Sydykbekov, A. Tokombaev, T. Umetaliev, Ch. Aitmatov, and other prominent writers and poets of the republic have been published about a thousand times in many languages of the peoples of the USSR and the world during the years of Soviet power.
The Kyrgyz people read Pushkin and Cervantes, Lermontov and Byron, Shakespeare and Tolstoy, Gorky, Mayakovsky, and other classics of world and Russian literature in their native language. Since 1942, their works have been published in Kyrgyz more than 600 times.
L. N. Tolstoy began to be translated in the republic as early as the 1920s. During this time, only individual books of the writer's stories and novellas have been published in Kyrgyz more than 35 times.
In 1981, a memorial complex “Ukrainian State Museum of the History of the Great Patriotic War of 1941—1945” was opened in Kyiv. Among the many exhibits of the museum are the portrait and book of poems of our fellow countryman, the People's Poet of Kyrgyzstan Temirkul Umetaliev. The Kyrgyz T. Umetaliev fought through all of Ukraine in the liberation battles, served in the 2nd, 3rd, and 4th Ukrainian fronts, and was wounded on Ukrainian soil. Many of his works are dedicated to Ukraine: “To the Dnieper,” “To Oksana,” “Do Not Forget,” “To Ukraine,” “Song of the Kobzar,” “Reflections on War,” and several others.
The pictures of the life of the Ukrainian people, the friendship between Kyrgyz and Ukrainians are captured in many works of Kyrgyz literature. Among them are the essay “In the Fields of Ukraine” by J. Bokonbaev, the stories “The Dniester Flows into the Deep Sea” by A. Tokombaev, “On the Shores of Issyk-Kul” by K. Bayalinov, “Devil's Bridge” by O. Orozbaev, the poems “My Mother” by A. Osmonov, “Friendship and Love” by K. Malikov, and others.
Since the war years, the theme of Kyrgyzstan in Ukrainian poetry has been worked on by Boryslav Stepanuk, for whom Kyrgyzstan became a second homeland. Here he recovered from his front-line wounds, here he entered the pedagogical institute, and here, back in 1943, he published his first poem “Cholponbay Tuleberdiev.” Since then, he has written dozens of poems about Kyrgyzstan. They have been included in many of his collections and translated into Russian and Kyrgyz.
The Lenin Komsomol Prize of Kyrgyzstan was established in 1967. It was awarded for the best works in the field of artistic literature, criticism, literary studies, art studies, journalism, visual, musical, and theatrical arts, cinema and television, screenwriting, directing, cinematography, and acting.
The first laureate of the Lenin Komsomol Prize of Kyrgyzstan was (posthumously) the talented Kyrgyz poet Alykul Osmonov (1967). Among the laureates are the names of many widely known poets, writers, and artists: T. Sydykov, T. Okeev, K. Omurkulov, K. Kydyraliev, B. Dzhumaev, T. Kozhomberdiev, A. Tokombaev, Zh. Abdykalykov, and others.
“Having engaged in literary work for many years, this man wrote only one book,” says Ch. Aitmatov. “The novel by Uzaka Abdukaimov ‘The Battle’ (‘Maidan’) was a significant event in Kyrgyz literature. I remember how we met the release of the first Kyrgyz war novel with great interest and pride. A novel written by a soldier.”
The role of U. Abdukaimov as a translator is immense. In his translations into Kyrgyz, “The Inspector General” by N. V. Gogol, “Boris Godunov” by A. S. Pushkin, “The Sheep's Well” by Lope de Vega appeared.
He is also the author of translations of fairy tales, poems, the poem “Poltava” by A. S. Pushkin, poems by M. Yu. Lermontov, Sh. Petefi, the poem by D. Byron “Childe Harold,” the story by M. Gorky “In the People,” the novel by A. Fadeev “Young Guard,” and others.
The books of the People's Poet of Kyrgyzstan, laureate of the Lenin Komsomol Prize of the republic Musa Jangaziev, are perhaps the most popular among Kyrgyz children. They are known not only in Kyrgyzstan but also read in Russian, Ukrainian, Uzbek, Tatar, Kazakh, Estonian, and other languages of our country. In the books “Children — My Life,” “There, Where the Warm Blue Issyk-Kul Is,” and others, the writer with great poetic power tells about the thoughts and deeds of the growing generation, about its eternal movement forward.
Shukurbek Beishenaliev — laureate of the Lenin Komsomol Prize of the republic, one of the most interesting contemporary Kyrgyz writers. His works “The Path to Happiness,” “The Voice of the Heirs,” “The Son of Sarbay,” “Trial by Glory” have found readers not only in our republic but also far beyond its borders. One of the favorite works of children is the story “The Horned Lamb” and its continuation — “The Hornless One.” In 1976, by the decision of the International Board on Children's and Youth Literature, the writer was awarded the Honorary Diploma of G. X. Andersen for the story “The Horned Lamb.”
This high award Sh. Beishenaliev was the first among the writers of the East. And in 1982, for this book, the writer was awarded the State Prize of the Kyrgyz SSR.
There is no place in our republic where Kyrgyz women do not work. Many of them served as prototypes for creating artistic works. For example, the writer N. Baytimirov dedicated his novel “Monument of History” to the first woman — chairwoman of the collective farm Urkuye Salieva, and the story by S. Sasykbai “The Fate of the Mountain Girl” is dedicated to the glorious daughter of the Kyrgyz people Tursun Osmonova — a communist, an active fighter for the establishment of Soviet power in Kyrgyzstan.
The prototype of Zhyldyzkan from the eponymous novel by N. Baytimirov was the image of the Hero of Socialist Labor, the famous cotton grower Olmaskhan Atabekova.
The prototype of the heroine of the story by A. Ubukeev “White Cloud” was the Hero of Socialist Labor Saadat Nogoieva.
The heroine of the novel S. Omurbayev “Telegey” is a distinguished shepherd of the republic, Hero of Socialist Labor, mother-heroine Telegey Sagynbaeva.
And the image of the distinguished beet grower, twice Hero of Socialist Labor Zuurakan Kainazarova is depicted in the novel by T. Sydykbekov “Women.”
In the early 1930s, the Union of Writers of Kyrgyzstan consisted of only 7 people. This was a time when Kyrgyz literature was taking its first steps, relying on folklore and the creativity of folk akyns.
In a short time, it reached the heights of socialist realism, giving the multinational Soviet literature such writers as Aaly Tokombaev, Chinghiz Aitmatov, Kasymaly Bayalinov, Tugelbai Sydykbekov, and others.
The Kyrgyz writers' organization also included a number of Russian literati (N. Chekmenov, N. Udalov, A. Salnikov, M. Ronkin, etc.). They simultaneously served as propagandists of Kyrgyz literature among Russian readers, acting as translators and editors of the works of their Kyrgyz colleagues.
The multinational team of writers in Kyrgyzstan also includes Dungan (Ya. Shyvaza, A. Arbudu) and Balkar (M. Kudaev) writers.
Alykul Osmonov... The poems of this poet captivate with their originality, vivid imagery, and depth of feeling. According to K. Kuliyev, “the entire poetry of Alykul seems to be imbued with transparent spring water, it smells of the sun of early morning and ripe fruits of the garden at dawn.” Many of the poet's works have become classics in national poetry; they are warmly loved and read by the people. These include poems about the Motherland (“My Home,” “Issyk-Kul,” etc.), and poems imbued with the civic theme of labor (“Dairymaid,” “Song of Labor”), and lyrical poems about love (“Do Not Forget”). The works of A. Osmonov have been translated into Russian by such prominent masters of the word as I. Selvin, K. Kuliyev, A. Voznesensky, and others.
The poet is credited with translations of “Eugene Onegin” by A. S. Pushkin, the lyrics of M. Yu. Lermontov, V. Mayakovsky, “Othello” and “Twelfth Night” by W. Shakespeare, “The Knight in the Panther's Skin” by Sh. Rustaveli, “Khosrow and Shirin” by Nizami, “Layla and Majnun” by Navoi, and others.
A. Osmonov was the first among the writers of the republic to be posthumously awarded the title of laureate of the Lenin Komsomol Prize of Kyrgyzstan. In 1986, the Union of Writers of Kyrgyzstan established the republican prize named after Alykul Osmonov for significant poetic works.
The image of Kyrgyzstan emerges before us from the works of the outstanding Kyrgyz word artist, People's Poet of Kyrgyzstan Kubanychbek Malikov, whose creativity is one of the bright pages of national literature. His poems and epics have always enjoyed wide readership and great success.
K. Malikov was one of the pioneers of Kyrgyz national dramaturgy. Many of his plays have entered the golden fund of the national dramaturgy of the Kyrgyz theater.