DOI: https://doi.org/10.36719/XXXX-XXXX/1/5-16
Tayyar Salamoglu 
Azerbaijan State Pedagogical University
Doctor of Philology
tayyarsalamoglu@gmail.com
The Historicity and Stages of Evolution of Samad Vurgun's Poetry
Abstract
The article examines S. Vurgun's creativity based on the principle of historicity. Historicity is considered the main criterion for creating an objective picture of S. Vurgun's creativity. The author believes that the principle of historicity requires studying the poet's creative path in four stages. This classification of stages is presented for the first time. At the first stage, the idea of studying S. Vurgun's poetry as a continuation of the national literary tradition is substantiated. The years of proletarian culture are distinguished as the second stage of the poet's creativity. It is emphasized that this stage, in principle, encompasses the years 1928-31. The essence of the socio-political events that allow distinguishing the years 1932-1945 as the third stage is explained. The main ideological and aesthetic features of his poems are summarized, and the significant features of the stage are emphasized.
The author of the article considers the years after the "Decisions" of 1946 to be the fourth and most contradictory stage of the artist's creativity.
The article explains the reasons for the transition from one stage to another. The poetry of S. Vurgun during the years of proletarian culture, which was an expression of a different position from the first stage, is examined in the context of the clash of opposing ideals. The reasons that forced the poet to abandon the method of romantic inflection are discussed, and the negative effects of attempts to become a "dialectical materialist" on his creativity are explained.
In connection with the relative loyalty in the literary policy of the regime, the occurrence of fundamental qualitative changes in S. Vurgun's poetry in the third stage is emphasized. His consistent appeals to historical themes and folklore memory are interpreted as factors that condition the poet's creativity to move beyond the circle of form and take its place in the context of ideas and content.
The ideological and aesthetic characteristics of the stages are examined comparatively and two lines are distinguished in S. Vurgun's poetry - the national and the political-ideological line. The traces of the socio-political factors that condition these differences in the poet's creativity are summarized.
In "Aygun" and the final version of "Komsomol Poem", the issue of the aesthetic expression of the tendency of resistance to socialist realism is emphasized. This aesthetic expression is evaluated as the eve of a new qualitative stage in our Soviet-era literature.
Keywords: stage, decision, proletarian culture, poetic thinking, romance, literary criticism