INDIVIDUAL IDENTITY SEARCH IN AZERBAIJANI LITERATURE: SOCIETAL DYNAMICS IN THE NOVEL ‘THE DIARY OF A YOUTH’

ABSTRACT

This study explores the search for individual identity in Azerbaijani literature through the novel The Diary of a Youth. One of Azerbaijan’s prominent writers, Yusif Vezir Chamanzaminli, examines the identity struggle of a young man raised in a conservative family. Both the young man’s family and the society he lives in are characterized by conservative and reactionary ideologies. However, the main character is influenced by modernism and opposes traditional conservative beliefs. As a result, he is marginalized by both his family and society. In this context, the study analyzes the characters through the East-West conflict, shedding light on the search for identity. Using this work as an example, we see that for many authors of that time, unfortunately, it turned out to be more emotionally attractive to promote a radical ideological position through their works than to seek ways of compromise between the old and the new.

АННОТАЦИЯ

Данное исследование рассматривает поиск индивидуальной идентичности в азербайджанской литературе посредством анализа произведения «Дневник юноши». Один из видных азербайджанских писателей, Юсуф Везир Чеменземинли, в своем романе затрагивает проблему поиска идентичности молодого человека, выросшего в консервативной семье. Как его семья, так и общество, в котором он живет, выделяются своими традиционными и реакционными взглядами. Однако главный герой находится под влиянием модернизма, выступая против строгих непоколебимых убеждений. По этой причине он оказывается изолированным как со стороны своей семьи, так и с принятой позиции общества. В этом контексте данное исследование анализирует персонажей через призму конфликта Востока и Запада, проливая свет на процесс поиска идентичности. На примере анализа рассматриваемого в настоящей статье произведения становится очевидно, что для многих авторов конца ХIX – начала ХХ века оказалось эмоционально привлекательнее пропагандировать своими произведениями радикальную мировоззренческую позицию, чем искать пути компромисса между старым и новым.

Keywords: Chamanzaminli, Individual Identity, East-West, Conservatism.

Ключевые слова: Чеменземинли, Индивидуальная идентичность, Восток-Запад, Консерватизм.

INTRODUCTION

In Azerbaijan, starting from the late 19th century, a modernization and Westernization initiative began. Since, during this period, Azerbaijan was under the rule of Tsarist Russia, the Westernization process that started there also affected Azerbaijan. Due to the prominence of religious teachings, traditions, and superstitions in society, the traditional structure of Azerbaijani society was opposed to modernization and Westernization. Azerbaijani intellectuals and writers, who grew up under Tsarist Russia’s rule, developed through Western formations. One of the most important of these writers is undoubtedly Yusuf Vezir Chamanzaminli. In 1897, he was accepted into the Realnı^[1] School, which was the most prestigious school in the Caucasus region in terms of education [3, 5]. After successfully completing his education in 1909, he went to Saint Petersburg to continue his studies. Although he wanted to enter the Civil Institute here, he gave up because he thought his knowledge of mathematics was insufficient. He then returned to Ashgabat and stayed there for a while. In 1910, Chamanzaminli went to Kiev and began studying at the Faculty of Law at the Vladimir Imperial University [3, 7]. He studied there for five years, and this period greatly contributed to his literary and scientific development. He addressed societal issues such as religion, women's rights, and child-rearing. In this context, he wrote works such as The Condition of Our Wives, Bloody Tears, Mother and Motherhood [3, 11, 17]. Additionally, he published novels like The Girl’s spring, The Students, 1917, and the comedy Hazreti Şehriyar. He also translated works by authors such as L. Tolstoy, I. Turgenev, A. Neverov, and V. Hugo into the Azerbaijani language [1,113-147]. He attributed his extensive knowledge to the Western formation and Russian educational institutions shaped in line with this formation, which is why he became a strong advocate for modernism and Westernization. The influence of the West is evident in the works he authored.

In the work to be discussed, The Diary of a Youth, modernism and Western elements are prominent. The author establishes an analogy with his own life within the general framework of the work. Additionally, the work sheds light on the social structure of the period. The aim of the study is to examine the main character's struggle between cultural conflicts and his effort to form his individual identity within this complex situation.

METHODOLOGY

A qualitative research method has been preferred in the study. Primary and secondary sources have been used regarding the topic. Based on these sources, both the infrastructure related to the topic has been prepared, and the work has been thoroughly analyzed.

SEARCH FOR INDIVIDUAL IDENTITY AND CULTURAL CONFLICTS

In the work The Diary of a Young Man, the social structure of Azerbaijan, which was under the rule of Tsarist Russia at the end of the 19th century, is addressed. The main character, Murat, is a 23-year-old young man. He comes from a traditional family and is subjected to various restrictions by society. However, after receiving education at a Russian school in the city of Shusha, which offers modern education, he begins to challenge these ideas. The main theme of the work is Murat's struggle against the existing social structure. The education he receives at the Russian school, the books he reads, and his increasing distance from his family and society have caused him to drift away from his traditional roots. As a result, he finds that there are not many people in his city with whom he can converse. He has three friends—Recep, Mürsel, and Hasan—with whom he discusses literary, political, social issues, and concerns about the future. Tired of the traditional structure of society and wanting to escape from this environment, Murat wishes to spend his summer vacation at his aunt's house in Ashgabat. Both the city of Shusha, where the character lives, and Ashgabat, where he goes for vacation, are significant in reflecting the East-West conflict.

In the city of Shusha, Azerbaijanis and Armenians live together. Azerbaijanis reside in the eastern part of the city, while Armenians are located in the western part. In the book it is stated that culturally, in the area where Azerbaijanis live, the Eastern culture, which emphasizes traditions, religion, and superstitions, dominates, whereas in the area where Armenians live, modern values specific to Western culture are more prominent. In the work, the author defends the West. This is clearly expressed in a sentence spoken by the main character: “This generation must be left to itself. Because no matter how hard you try, Kerbelayi Esat will never become European.” [2, 43].  Here, the author emphasizes the importance of Western thought for the development of society, while also pointing out how regressive traditional Eastern culture is.

In the book it is stated that in the city of Shusha, the area inhabited by Armenians is developed in every aspect, while the area where Muslims live is underdeveloped. This difference is strikingly highlighted in the work: despite the Armenians having beautiful neighborhoods, bright streets, and comfortable homes, the Muslims' neighborhoods are poor, their streets are dark, and their houses are in ruins [2, 18]. It is inevitable that there would be a cultural divide between the two communities. However, before the Armenian-Turkish conflict, no such tension existed between the two communities. Religious differences did not even pose a problem. In fact, before the conflict, Muslims would appoint Armenian godparents for their circumcised children, and Armenians would participate in Muslim religious ceremonies. Likewise, Muslims would visit Armenian temples and make wishes [2, 17]. In the book it is stated that the breaking point occurred when a Muslim named Mehmet rang the Armenian Church bell. Taking advantage of the confusion caused by the bell, Mehmet stole the Armenians' shoes and sold them. After this incident became known, tensions arose between the two communities. From that moment on, Armenians and Muslims, who had once lived together, began to live in separate areas [2, 18]. In Shusha, while Western features are prominent in the Armenian area, Eastern influences are seen in the Muslim area. In this context, the city becomes a stage for the clash of different cultures. In the work, this conflict is shown once again through Murat's friend Recep and the Armenian girl he loves. Both Recep’s and the girl's families and surroundings are against their relationship. For Armenians, marrying a Muslim man is unacceptable, and for Muslims, marrying an Armenian girl is also unacceptable. The only flaw for the girl's family is that Recep is Muslim. Murat and his friends are both saddened and angered by this situation. They cannot understand how two peoples, who had lived together for so long, could come to hate each other [2, 20]. Murat and his friends believe that religious superstitions have made the two peoples enemies [5, 302].

Another city where events unfold in the work is Ashgabat, the capital of Turkmenistan. This city shares similar characteristics with Shusha. In the book it is stated that in this city, where the East-West cultural conflict takes place, Muslims are influenced by religious superstitions, traditional beliefs, and superstitions. On the other hand, the non-Muslim segment of society prioritizes modern Western values. In Ashgabat, Murat meets a Jewish girl named Asya, and a relationship forms between them. However, both the girl's family and society find this relationship unacceptable, as there are religious, national, cultural, and age differences between Murat and Asya. For this reason, both the Western and Eastern segments of the city find this relationship inappropriate. Despite this, Murat states, “I love all humanity without any religious or national differences” [2, 50] and “Asya is younger than me, and I know this; I am aware of it and still meet with her” [2, 63]. This situation strikingly reflects the East-West conflict.

The Armenians living in Shusha are not portrayed through a specific character but are discussed in general. In the work, it is seen that the Armenians prioritize modern, innovative, and secular values. They place great importance on education, science, and art. They are depicted as a community that constantly develops itself and embraces Western values. Their emphasis on education is shown in various parts of the work. In Shusha, there is a Realnı school for the education of both boys and girls. However, only Armenian students are educated there. While 300-400 of the students in this school are Armenian, only 15 are Muslim [2, 18]. Armenian girls, unlike Muslims, receive education. A large number of them, after receiving education at Realnı, complete their university studies in Saint Petersburg. Additionally, a significant portion of the doctors and civil servants in Shusha, as well as almost all of the artisans, blacksmiths, and cobblers, are Armenians. All commercial activities are also monopolized by the Armenians. In this context, considering the general interests of the Armenians, it is evident that they have a modern stance.

The author makes generalizations about Muslims by portraying them through specific characters. The Muslims are evaluated through the lens of the main character, Murat’s parents. They are individuals who are attached to traditions and religious values. The author even depicts them (at a certain moment) as non-religious, but believing in magic and fortune-telling. Their opposition to modernization causes them to have prejudices against new and different ideas. Murat’s family reacts harshly to his criticisms of society because they consider his views to be non-religious. His father strongly disapproved of Murat’s refusal to take lessons from religious teachers, as he wanted him to be raised as a devout person. Additionally, his father opposed Murat's trip to Ashgabat during the summer holiday because, according to him, the date of the journey coincided with an unlucky day. Murat disagreed with this and pointed out that it was just a superstition. However, his family (mixing religion and mythology) again accused him of being irreligious. On the other hand, in the eastern part of the city, there are a few people like Murat's friends Hasan, Mürsel, and Recep who prioritize modern, secular values. They, along with Murat, are characters who enjoy reading books, researching, and engaging in discussions on literary, political, and social issues. The reason for their intellectual activities is the modern education they received at the Russian school.

Conclusion

Murat’s interest in literature and science has given him a modern perspective. However, the social structure in which he lives values traditions, religion, and superstitions, so he could not find himself within it. Due to his family and societal influences, he enters a quest for identity. The conservative approach he faces, especially from his family, along with the education he receives at the Russian school, exposes him to different perspectives, leading to an identity crisis. Because of this, at the beginning of the work, Murat wants to leave his city and go to Ashgabat. However, after arriving there, he encounters the same struggles he faced in Shusha. By the end of the work, Murat realizes that the only way to overcome his identity crisis is to continue modern education and improve himself. He concludes that the society he lives in will not change and emphasizes the importance of educating future generations, highlighting the necessity of modern values. In this context, he does not only complete his search for identity but also understands the significance of modern education in raising future generations.

In the Russian Empire, on the eve of the revolution and civil war, it was fashionable for intellectuals, including teachers, to bow down to the anti-religiosity, anti-patriarchy, freedom from traditional moral obligations, anti-monarchism, and the illusion of democracy coming from the West. Somewhere these ideas were hidden behind pompous slogans, and somewhere they were shown directly. Those intellectuals who tried to resist this fad experienced all the "charms" of the negative attitude of Westernizers. At the same time, there were often so many Westernizers that they made trouble for their opponents without hiding; nationality or class affiliation in relations between intellectuals in the event of a mismatch of values did not matter. And vice versa, Westernizers-intellectuals actively helped any adherents of the same pro-Western values. Unfortunately, many writers of the Russian Empire could not resist (to varying degrees) the fashion for these Western values. The efforts of F. M. Dostoevsky and a number of other cultural figures were not enough to reverse the trend. In this context, one should also understand the views of Yusif Vezir Chamanzaminli. The book under consideration in the article is of interest as an example of the artistic talent of its author, but at the same time bears the stamp of the Westernizing views of that time, and therefore cannot be considered (as far as this is generally possible in a work of art) an objective depiction of reality. Using this work as an example, we see that for many authors of that time, unfortunately, it turned out to be more emotionally attractive to promote a radical ideological position through their works than to seek ways of compromise between the old and the new.

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