There is an issue of impression  in literature.  Though poets and writes do not live in the same epoch and country, their works might have the same form, genre, content and aims. So, the Comparative literature aims at analyzing  the literary works of different poets and writers who live in various epochs and countries. This paper deals with the analysis of haiku genre in the Japanese poetry while comparing the literary heritage of two poets.

Haiku (then called hokku)-  is a  Japanese  traditional short three-line poem. It is one of the most developed genre in the traditions of East Asian poetry art.     Its origin dates back to the 17^th century and consists of     17 syllables ( also known as morae though often loosely translated as “syllables”) and haiku does  usually not represent   rhyme.  Matsuo Basho  is recognized as the greatest master of haiku and his poems have been  translated into Kyrgyz by Akylbek Jumanaliev.  He claims that haiku is a miniature picture. Rendering haiku into another language is not an easy task:  Often focusing on images from aesthetics, haiku emphasizes  traditions, identity, world view, concepts. The translator must be aware of them. The   Japanese poetry is famous for  the haiku masters as Matsuo Basho,  Yuuzke Kuray and Yosa Buson. Their three-lined masterpieces became the  heritage of the world literature.   This research analyzes the haiku of Matsuo Chūemon Munefusa. which date back to the 17^th century.  The following haiku belong to his pen:

Фудзи боорунан келген жел!                                       The gentle breeze is blowing  from Fuji

Шаарга алпармакмын сени желпигичке салып,  I would take you to city carrying in the blower,

Эң баалуу белек деп                                                     As the most precious gift.

Another haiku

Кайрадан ээледи жүрөктү                                               Again in my heart

Апам, атам жөнүндө кайгы-санаа                                  Feelings about my mother and father

Жалгыздаган кыргоол үнү! [ 1,24]                               A lonely song of the pheasant.

The first haiku interprets that according to the old Japanese tradition  a precious gift was carried in the blower and  metaphorically    Basho wanted to present wisdom and wit as a gift to the human society of his Edo period. Therefore, via the plot of the haiku, one can imagine the period that the poet lived in.

Fuji Mount (Fujisan)  is the name of the highest  mountain   that is     located on Honshu Island  in Japan. In the Arts it is called as Fujiyama and the mountain is an attractive volcanic cone and a frequent subject of world  art. Kyrgyz writer Chyngyz Aitmatov and Kazakh playwright wrote the play “The Climbing to Mount Fuji”.  I claim that reflection of the mountain in literature  represents humanism, goodness, wisdom and mercy of the human beings and the image of the mountain has some sacred strength to purify the inner world of the heroes in the play.    Therefore, the Fuji mountain has some universal function in the human life despite the periods change.

So,  Basho wants  to present the gentle breeze blowing from the Mount Fuji to the city people as a gift  “to purify the people’s heart” metaphorically in his haiku.

The second haiku renders  yearning for parents via the song of pheasant. In Japanese culture, a pheasant is the symbol of parents. According to beliefs, pheasants never leave their children. Basho expresses his melancholy feelings towards hid deceased parents via folk conviction. Reading the second haiku impresses the heart of everyone.

I argue that haiku has some specific features. One of the most distinguishable characteristics of haiku is the laconism of the poem. It consists of only three lines, but discusses the  universal phenomena.

Агат, кетет баары бу дүйнөдө!                                    Everything will be gone

Түтүн узайт шамдан,                                                    Even the smoke vanishes from the candle

Көшөгө бүттү жыртылып.   [ 1,24]                            The curtain was torn off .

All goodness, evil, troubles and prosperity will be gone in this world. It is not good to obey the misery of the life; one must be strong enough to overcome all sufferings. Sometimes people become too happy and too high-and-mighty, and all welfare will  go. Basho felt the essence of human life.  The three-lined poetry could reflect all quality of being alive in this world.

The second specific feature of haiku is the simplicity, i.e. it does not require rhyme.  Haiku is created spontaneously and there is no need to be elated and excited to create the poetry. The intuitive nature of the haiku leaves unforgettable impression on the reader.

Алачыгымдын алакандай                               The moon looking through   the window

Агартты төрт тарабын тең                              Brightened every corners

Терезеден шыкаалаган ай.   [ 1,28]               Of my tiny tent.

The Moon makes deep senses in the human soul and the moonlight tenders the heart, produces joy and elation, gives rays of hope.  While reading haiku one may enjoy different feelings. Haiku has special role in literature and it fulfills special functions in it.

Let’s analyze the following haiku:

Кайгы менен жан-дүйнөңдү агарткын!                         Let’s purify the soul by sadness

Даам татканыңда кыңылдап ырда ырыңды                  Lets sing your song

Сен, “ай капакору!   [ 1,24]                                            You are the sad person of the Moon!

Who is the sad person of the Moon?  He is poet Basho, who was sad and felt lonely seeing the Moon.  He did not that know  the poem  was the embodiment of the    Catharsis. Catharsis  is an emotional discharge through which one can achieve a state of moral or spiritual renewal or achieve a state of liberation from anxiety and stress. In literature it is used for the cleansing of emotions of the characters. The term was used as a metaphor in Poetics by Aristotle to explain the impact of tragedy on the audiences. The  Kyrgyz readers were introduced with haiku in translation of  Sagyn Akhmatbekova, Egemberdi Ermatov, Ramis Ryskulov,  Akylbek Jumanaliev. They  were the first poets who translated and created haiku genre in the Kyrgyz literature.  However, haiku genre   in Kyrgyz achieved its top level by the haiku of deceased young poetess  Lira Usonakun kyzy. Japanese haiku genre and similar poems to haiku did not exist in the Kyrgyz literature.

When the poets started translating haiku, the Kyrgyz poets attempted to write haiku in Kyrgyz. However, not all of them could create brilliant haiku in content and form.  Only the post-soviet Kyrgyz literature saw the magnificent  haiku by Lira Usonakun kyzy, her poetry impressed the Kyrgyz readers much. Scope of her haiku  covered human nature, life and death philosophy.  Deceased young poetess could establish the path to the Kyrgyz haiku genre and she  integrated it into the local context. Her haiku deal with the personal feelings and social issues of the modern society.

Lira Usonakyn kyzy claims that good and evil of human life go conjointly:

Эркелетет, беттен сылап,

Жетелейт да буттан чалат.

Турмуш деген чоң сабак.

The life is a big lesson

It loves and caresses you,

It leads you and breaks suddenly. [ 1,23]

The poetess emphasizes the role of mother in continuing the human line and admires the unity of mother and child in the following poem:

Табияттын кереметин карачы!

Бир денеде, бир убакта, бипбирдей

Эки жүрөк согуп жатат тынымсыз. [ 2,25]               .

How the nature is fabulous

The two hearts beat

With the same rhythm, in one body, at the same time

This haiku seems brilliant. Because in the short line the poet could include harmony of child and mother, that might be  quite difficult for other poets.  Woman with a baby in a womb is the sacred picture of the nature,  that is  the idea the poet wants to value.                                                                                                                              Nature is the eternal topic in the haiku of Lira Usonakun kyzy. She likes spring and always reflects it in the poetry, but some philosophical ideas still make us question about the sense of life.

Жакшы көрөм жамгырды,

Жан денем жашаргансып,

Жан-дүйнөм тазаргансыйт. [ 2,25]

I like Rain

It rejuvenates my body

It purifies my soul.

Rain is the metaphor for purifying all living nature and inner soul of human being.  The poet was very sensitive and romantic  to all outer phenomena.

This poem was  the last haiku of the author, who deceased at the age of 30 in May. It is called ‘I would love to  live’.

Кубалап кыштын ызгаарын,

Кучактап  жаздын жыргалын,

Жашагым келет, жашагым! [ 2,29]

I would like to live

Following the winter frost

Enjoying the spring beauty.

Spring is a miraculous time. The whole world comes alive after the winter.  The world comes filled with aroma  and the scent of splendid greenery:

“Тур, жатпай, жазды тоскун!”-деп,

Кубулжуп гимнин ойногон,

Келиптир куштар – оркестри. [ 2,29]

Stop sleeping and celebrate spring

Orchestra of birds sing

The hymn of flowering.

Spring gives  hope for rejuvenation of everything in this world. Spring is a time to renew the excitement and zest for life that lives inside:

Жабылуу ар бир эшикке,

Тараткым келди жаз жытын,

Жапжаңы, жакшы ыр менен. [ 2,29]

I would like to distribute

The aroma of spring to every closed door

With my new poems.

In conclusion, I would like to claim that haiku originated from the  Japanese literature has acquired some specific features in the form and content in the Kyrgyz poetry genre. It was introduced via translations and haiku was  created during soviet era when poets N. Baitemirov and A. Tokombaev lived. The post-soviet Kyrgyz literature saw the splendid progress   of haiku with the poems  of Lira Usonaly kyzy. The contemporary young  poets also continue to explore the haiku genre in the modern Kyrgyz poetry art.

The literature of Turkic people original, rich, historically endless literature in the completely literary world. Poet-writers who came from Turkic language people, added many-faceted contribution to the world literary treasure. It is enough to mention Chyngyz Aytmatov’s name from Kyrgyz literature; Muhtar Auezov’s name from Kazakh literature; Berdy Kerbabaev’s name from Turkmen literature; Mustai  Karim”s name from Bashkyr literature; Rasul Gamzatov’s name from Avar literature; Ziya Samidi’s name from Uygur literature  and others. Therefore, Turkic language speaking people’s literature is considered polyphonic, exotic one from ideological-thematic point of view.

One of the ancient Turkic nations – Uighur people’s culture and literature includes “Garip and Sanam”, which was the head of folklores and art, which has been growing from ancient times. In the history, theirs appreciable melodious, popular kariz, diversified treatises, which were written in old Uygur language, prove that fact, they are ancient people by a number of searchers who were interested in it deeply.

Time passed, centuries have changed, Uighur literature’s period was developing constantly, and now in universities of Turkic language countries , for instance, in Kyrgyzstan, the subject “Turkic language speaking people’s literature” is conducted, including  Uygur poet-writers’ too. The interest of young generations is caused by images of creative people, especially Abdulhalik Uygur, Lutpulla Mutallip, Bilal Azizi, Abdurehim Otkur. Moreover, they developed modern Uygur literature during the period of Soviet Uygur literature.

“20.Yüyzilinda baslarinda dünyada ceryan eden degisiklere parallel Dogu Türkistan Uighur Edebiyati esarete, yülme, cehalete karsi mücadele dalgalandirildi. Bu edebiyatin bazraktarligini büzük mücahid alim ve yazar Adülkadir Binni Abdulvaris Azizi, gazeteci yazar Kutluk Sevki, mücahid sair Abdulhalik Uighur, Sair ve egitimci Mehmet Ali Tefikler yapti.” [1.18]- as the researcher  Mahmut Kashgarli wrote, that the first part of XX century  the  poets, which are mentioned above, were fighting for the independence of their nation with poems, in which  they gave their own opinions and during the fight with unfairness, they stood against unjustice with the help of their labour and also with power of words. Of course, we can come across with such actions in some sources, where the type of period, conditions of life, unjust attitude were required.

The 1930-1940s of XX century, were the years for young poets’ creativity, who wrote poems on the ideal-thematic features, thinking about their nation’s future, taking care of the nation, endeavoring for patriot soul and new achievements. In 1921-year in Turfan, the following strokes were written,and quickly distributed among people

Ey fakir Uighur, Uyan uykun yeter,

Sende mal yok, simdi gitse can gider.

Bu ölümden kendini kurtarmaysan

Ah!…Senin halin hater, halin hater.

Kalk dedim, basini kaldir…Uzkunu ac!

Rakibin basini kes, kanini sac!

Göy acip etrafina izice bakmasan,

Ölürsun armanda bir gün, zo ilac! [1.22]

The author of the poem „Uyan“ („Wake Up“) Abdulhalik Uygur (1896-1932) who  was shown as scholar in A. Narynbaev’s works, made them wake up those who were afraid of calling them Uighur, encourages to fight the people, who used pseudonymous  “Uygur”. The poet was educated and knew Arab, Farce, Mongol, Chinese, Russian languages, was an intelligent. On his way abroad with his father’s trade, for example after having seen Russia, he analyzed conditions of local people, and familiarized the ways against inequality. From that, when he came back to his motherland and to his nation, he saw bad conditions of Uighurs, and poet stood against them with both ways, in other words, with weapons and words. In parallel with Abdulhalik Uygur, his compatriot Mehmet Ali Tevpik (1901-1937) also in his poem “Kalkin gidelim” challenged his nation against for unintelligence:

Kalkin gidelim düsmani kovalim,

Nadanliklara karsi duralim.

Mars mars haydi arkadas.

Gösindeki atesini sac. [1.30] – he wrote.

Injustice punishment,  people’s stagnated condition, lack of new methods of teaching, such as advanced people of society A. Uighur, L. Mutallip, B. Azizi, Nim Shehit, M. Tevpik were oppressed, they expressed their inside regrets, interior torments through poems, and in my opinion, their efforts were not in vein. Mehmet Ali Tevpik paid attention to Patriotic morale of poets and parallel to educational publicity, he opened new modern schools. He had built schools in Artush and in a few villages, and created his poet “Biz-muallim”.

Biz-Muallim! Yurtlarda mektep aciyoruz,

Halkimiza günes gibi nurlar sacizoruy.

Uyun yillar zulmette kalip har olduk,

Ilim-irfan zoluna biy tek entizar olduk.

Bizim yürüdügümüz yol saadet yolu,

Biz vatanin yeniden acilan gülü. [3.21]

The poet is seemed to express his likeness for education, school, and through of this, includes the opinion of finding solution that young generation of Uighurs must get education, wake up, fight for independence of their nation. Poet’s “Okudu asti”, “Kurtulus yolunda”, “Vatan icin” inner contemplating is very strong.

Alongside above-mentioned poets, we have to mention Lutpulla Mutallip’s (1922-1945) name. Because, L. Mutallip is well-known poet for the whole East Turkestan, Central Asia. The poet looked to the life with another point of view, as an active person. For formation of special literal point of view, his teacher poet-democrat, educator, journalist Anvar Nasiri’s role was also great. He shaped his loving feelings of freedom, critical point of view from the  poets of Alisher Navoi, B. Nazim, Abdulla Tokay. Moreover, he learned Russian language due to understand revolutionary ideas of Chernyshevskiy, Plehanov, Lenin’s fictions and writings. He reached his goal, and wrote articles such as “Pushkin – is prominent son of Russian people”, “Mayakovski – is the flag of the soviet union”.

Chinese government was afraid of the poet’s dignity and did not command to kill him, but he was exiled to Aksu. Nevertheless, an exile could not stop the poet’s ideological fighting, conversely it heightened. He worked in “Aksu magazine” and was able to write a lot of poems, and gave his opinions sub textually:

“Duygularim”

… Nevayi gömülmüs degil topraga,

Yüregi sigmiyor, alem gibi mezara.

Ruhu semada Allaha ulasizor,

Onun mezarini sazfalarda ara,

Türbesini misralarinda ara, [1.45]

Lutpulla Mutallip felt that he would die and tried to give his opinions in his poems. In reality, in spite of the his death , he left as an inheritance his poets, literature and the art studies, literal articles, aphorisms, which nowadays we are still studying.

As a conclusion, 1930-1940-years Uygur poets: A. Uygur, L. Mutallip, M. Tevpik, N. Shehit and others’ poetry was strong from ideological side which was spread among the people, and in fighting for freedom theirs’ name were briefly mentioned.  Those above mentioned poets were young in their early ages; they sacrificed their lives for their nation, for freedom. Thematic orientation of the poets’ literary works were for the legitimate of freedom, liberty, struggle, patriotism, enlightenment, and developing of culture.