Analysis of the structure and character development in the historical documentary narrative “Shandoz”

The historical documentary narrative “Shandoz” offers a literary analysis distinct from the earlier historical works of writer Abish Kekilbayev. It draws on information and anecdotes about the life and works of Makhambet Otemisuly, his activities, and the legends surrounding him in popular tradition. This article explores the genre-specific characteristics and compositional structure of Shandoz. It highlights the innovative techniques the author employs to introduce the main character to the reader. Furthermore, the article analyzes how the figure of Makhambet is recognized and portrayed throughout the narrative.

Abish Kekilbayev is an outstanding writer who revitalized Kazakh prose, employing artistic language to depict historical events and offering fresh perspectives on historical figures. His final major work, “Shandoz”, stands out as unique in both content and genre, being a historical documentary narrative. The author does not categorize this work, which is based on folk tales, historical documents, and factual data, within the realm of literary artistic genres. However, Doctor of philological sciences Bisengali Zinol-Gabden Kabiuly, in his article "New ideas from Abish Kekilbayev's historical documentary narrative “Shandoz” describes it as follows: “The historical documentary narrative “Shandoz” is a new historical novel that, alongside the artistic portrayal of documented historical events, carries significant ideas, concepts, and artistic content...[1].” 

“Shandoz” explores the life and creative legacy of the poet and hero Makhambet Otemisuly by analyzing available factual data and the scientific and literary works written about him thus far. (The word “Shandoz”, translated from Kazakh, means “a very fast horse\courser” and “graceful.” By using this word in the title, the author likely intended to liken the main character to someone quick-witted and graceful.) Thanks to Kekilbayev's persistent efforts, the work reached readers in 2004. In this narrative, the writer’s personal reflections are woven together with historical data, widely circulated stories, and other research, leading to a range of insights. The reader is sometimes prompted to view the work through the lens of the present, while at other times, they are transported back to Makhambet’s era.

It is appropriate to consider this work as a research study written in a scholarly style rather than as a literary piece. This is due to the absence of a consistent plotline; while Makhambet is the main character, his personality is revealed not through artistic prose but through a method of citation and analysis of the poet’s verses and works by authors such as K. Zhumaliev, B. Amanshin, A. Sarai, and I. Kenzhegaliev. Addressing occurs only in relation to the narrative, and the temporal framework spans different periods. The internal world of the protagonist is not explored in depth, and his emotions and feelings are not as clearly or vividly expressed as those of the main characters in novels like “Anyzdyn akyry”, “Urker”, and “Elen-alan”. This, of course, is directly related to the specific genre. However, it cannot be said that Abish Kekilbayev, in this research work, completely refrained from using unique literary techniques to convey his opinions and conclusions. For instance, the writer opens the section on Makhambet with the following statement: “...over the past two hundred years, very few figures have been as deeply rooted in the Kazakh consciousness as Makhambet. Even his speech was created by the Almighty with a different power, one that captivates everyone [2, p.1].” Here we see that he uses emotional language and eloquence to portray a personality deeply embedded in our history.

The author argues that although every Kazakh knows the hero and poet Makhambet and can recite at least one of his poems from memory, his biography, inner feelings, and destiny remain largely unknown. He notes that, until recently, we did not know the exact location of his remains, we could not say for sure where his umbilical cord was cut, or where he grew up, and we have still not uncovered many mysteries of his brief forty-three years of life. Therefore, he wrote the historical documentary narrative “Shandoz” about the hero Makhambet, consisting of 13 parts. The title of each part of the work is taken from the verses of the protagonist. Through this, the author seeks to reveal the changes in Makhambet’s life and his inner struggles at the time each poem was written.

For example, part III is titled “Kesekti yerdin soiy edim” (approximate translation: “I am a descendant of a great hero”) and in this section, the figure of the hero, including his physical appearance and body shape, is described. Of course, the writer does not dedicate an entire section solely to describing the physical appearance of one person; these pages also cover the story of Makhambet's marriage and character. The mention of marriage refers to the notion that, before this work, there was a belief that “Makhambet was unlucky in love”, and his personal and romantic life was rarely discussed. In “Shandoz”, however, the hero's image is more thoroughly explored in the context of male-female relationships, and the rumors of his misfortune in love are dispelled.

As is well known, during the Soviet era, researchers of Makhambet's poetry and life were unable to openly discuss his place in Kazakhstan's history. Some historians even referred to the uprising initiated by Isatay merely as a strike, downplaying its significance as an anti-colonial movement. In Shandoz, these misunderstandings are revisited, drawing on data, scholarly opinions, and the author's reasoning, resulting in a re-evaluation of Makhambet's image in a new light. For instance, the first work on this hero, an article titled “Alaman” by Khalel Dosmukhamedov, describes the poet as “a very accommodating person in the hands of a good leader, an indispensable individual for carrying out minor tasks.” Disagreeing with this portrayal, Abish Kekilbayev seeks to refute this characterization by referencing data from Akhmet Mamytovich's article “Isatay – Makhambet,” the verses of Makhambet himself, and the bold image of the “Kazakh of sands” recognized in the memoirs of the eastern scholar E. P. Kovalevsky.

In the works of those skilled in language who shaped Makhambet's persona, he is portrayed as a true hero who remains steadfast to his word, with accounts of his campaigns alongside Isatay. In “Shandoz”, this period of the hero's life and the history of the uprising are thoroughly explored, providing an overview of his origins. The narrative even discusses how and why Abilkhair Khan joined the Russian Federation, employing a method of analysis. The work emphasizes the importance of adopting a broader perspective on the biased perception of Abulkhair Khan's “betrayal” and thoroughly evaluating all historical events. The author also addresses the most influential figure during Makhambet's time, Jangir Khan, discussing his societal decisions and actions. In conclusion, the author summarizes his findings regarding the uprising: “They entered into a struggle against the exploitation and humiliation of people, the degradation and discrimination of nations, the suppression of cultures and traditions, the encroachment on languages, and the undermining of the country and state.”

Additionally, the work highlights not only Makhambet's heroism but also his loneliness, grief after Isatay's death, and the sorrow of a man who had to be apart from his family and children. It is well known that Makhambet acts according to his own will and does not succumb to the pressure and violence of others. A man who unified all arts into one, he faced criticism and persecution due to his straightforward nature. Both the royal government and Jangir Khan sought to eliminate him. Aware of this, the poet found himself alone in Karoi. Although his brothers and sisters did not reject him, Makhambet felt compelled to leave to avoid causing trouble for anyone because of him. To illustrate this, the writer employs Makhambet's poetry in “Shandoz” rather than his own vividness.

Despite the fact that the primary focus of the historical investigation is on Makhambet Otemisuly, the image of the poet's father, Otemis, is convincingly portrayed, along with his influence on the formation of his son as a person. Much information is provided about Otemis, the most renowned among the descendants of Kulmali (Kulmaniyaz), who is considered an outsider in Kazakh tribes. The writer presents credible evidence that Makhambet's bravery and eloquence were inherited from his father. In this regard, Abish cites many folk legends and concludes that Otemis possesses a truly remarkable intellect. Let us quote the writer's thoughts: “In those times, it was not easy to be a khan, to be a biy (a person with authority among the people, eloquent, knowledgeable of the norms of law), to be a hero, or to be wealthy. Even keeping one’s own head was the greatest challenge. Otemis's behavior, as he endured all of this with pride and did not bow his head, was exceptionally wise. Demonstrating such behavior required considerable courage. It was even courageous to exhibit such bravery in the khan's house. Overall, this was perfect nobility, a quality that God did not bestow upon every second person” .

Even when evaluating the work as a research study rather than a literary piece, it becomes evident that the writer enjoys significant freedom in terms of genre. At times, the author presents conclusions in beautifully crafted prose, while at other moments, they are summarized in a concise and straightforward manner. Additionally, to portray the main character, the writer successfully encompasses all the factors that contributed to the formation of his personality. The narrative appropriately depicts the hero's friends and relatives, his wives and children, the image of Jangir Khan, and other figures from that era, creating a comprehensive portrait of Makhambet. The materials necessary for crafting this artistic work—historical data, legends, genealogies, and anecdotes—are skillfully intertwined by the writer, each contributing its unique flair.

In short, the historical documentary narrative “Shandoz” is a work that elevates Abish Kekilbayev's potential as both a writer and a researcher, profoundly illuminating the image of the historical figure Makhambet Otemisuly through documentary storytelling. The author has successfully introduced numerous innovations in both literary and substantive aspects of the work.

Literature:

Bisenqali Zinol-Gabden Kabiuly: “New insights in Abish Kekilbayev's historical documentary narrative “Shandoz.” Available at: https://qazaqadebieti.kz/20059/ly-bishti-shandozy 

Shandoz: Historical Documentary Narrative / Abish Kekilbayev; West Kazakhstan Regional Administration and “Aris” Foundation – Almaty: Aris, 2004. – 353 pages.

Materials of the International Scientific and Practical Conference titled “Abish Kekilbayev – A Monumental Figure of His Time.” – Almaty: Kazakh University, 2019. – 312 pages.