XXX Международный конгресс ИИСАА. 19–21 июня 2019 г. Т. 1

Секция VIII 358 XXX Международный Конгресс по источниковедению и историографии стран Азии и Африки published in the period of Perestroika , when the Tajik poet could dare to write not about Komsomol construction sites, but about the eternal. In this early Farzaneh’s compilation there is a verse named “Going Towards Death”, where we can see author’s obsession with the Poetry and the readiness to follow the Poetry road “till the end” (in that erse the word poetry is capitalized), despite the envy, mockery, “the net of deception” which is tying her up. “Even if the bitter end is awaiting me, even if the end of this road means death, I will not back down… because the light of Poetry is shining in front of me.” Such veneration of the poetry as a divine phenomenon made Farzaneh different from her peers and brought her closer to the renowned poets, who also considered their talent ethereal. The second circumstance, which shaped Farzaneh’s works, was a widespread opinion among the Tajik intellectual elite about the tragical position of the poetry in the Soviet period, and the related hopes of a cultural revival and the return to the Persian cultural tradition. The third circumstance was the fratricidal civil war of the 1990s. Farzaneh, marked by an outstanding gift of lyric poetess (she is often called the Tajik Forough Farrohzad), didn’t remain indifferent and didn’t avoid the civil topics in this challenging period for her motherland. For example, her verse “New Good News”, which is depicting the situation of the modern post-war Tajikistan, the citizens of which are struggling to make a living: “In this time of the lack of hope and the costliness of love // all my love, oh people, I am giving you gratuitously // to you my contemporaries, // those observing the world from their cardboard little shops. // And I am thinking: // in that flimsy cardboard little house // can you squeeze your life in your arms, // can you wait for the green spring to come, // can you cherish the dreams of the beautiful, // can you jiggle the memory crown // with a rare breeze of memories of someone? // Can you without fear // watch the life passing by? // But I can’t // rescue you from this little shop of humiliation…// You are since the morning till the deep night // rushing from one shop to another // searching for different goods. // The same way I am rushing around with you, // but it seems we’re stuck at this crossroads, // where we are searching for each other, // where we are searching for each other, // where we are searching for Him”. Farzaneh’s poetical style is distinguished by restraint, its characteristic “light sadness”, full of good sympathy and tenderness. In her poetry, we can hear the quiet urge to come back to the “programmer of fate”, who is “seemingly obstructed by the earthy programmers // to rebuild again and again // imperfect construction of the world”. The poetess believes that at the beginning of the twenty-first century we can send “a good piece of news // about the rise of love”. It is love (without doubt, not only in the everyday but also in its Sufi meaning) that can rescue the exhausted nation, cure its soul. In conclusion, it is important to note that even during the harshest years of the modern Tajikistan history, the poetry books continued to be printed in the coun-