Research article
Issue: № 7 (121), 2022


Научная статья

Гильмутдинова А.Р.1, *, Гайнуллина Г.Р.2 , Габдуллина Г.3

ORCID: 0000-0003-1504-9758;

2 ORCID: 0000-0003-4752-1965;

3 ORCID: 0000-0002-0076-7709;

1–3 Казанский Федеральный Университет, Казань, Россия

* Корреспондирующий автор (kaigel[at]


В творчестве современной татарской поэтессы Ильсияр Иксановой особенно отмечаются любовная и интимная лирика, искренность лирического героя, умение автора усложнять тексты с помощью символов. Философская картина мира в любовной лирике пронизана образами природы, которые вызывают ассоциации с мировым древом, соединяющим землю и небо. Натуроцентризм направлен на создание емкого и точного образа, эмоционального состояния лирического героя. Таким образом, в любовной лирике поэта возникает мифопоэтическая картина мира. В статье анализируется любовная лирика Ильсияр Иксановой, где автор описывает свои личные переживания, связанные с потерей любимого мужа. Рассматривается система образов в любовной лирике поэтессы.

Ключевые слова: Ильсияр Ихсанова, любовная лирика, татарская поэзия, эмоциональный лиризм, художественный образ.


Research article Gilmutdinova A.R. 1, *, Gainullina G.R.2 , Gabdullina G.3

ORCID: 0000-0003-1504-9758;

2 ORCID: 0000-0003-4752-1965;

3 ORCID: 0000-0002-0076-7709;

1–3 Kazan Federal University, Kazan, Russia

* Corresponding author (kaigel[at]


In the work of the modern Tatar poet Ilsiyar Iksanova, love and intimate lyrics, the sincerity of the lyrical hero, the author's ability to complicate texts with the help of symbols are especially noted. The philosophical picture of the world in love lyrics is permeated with images of nature, which give rise to associations with the world tree that connects the earth and the sky. Naturecentrism is aimed at creating a capacious and accurate image, the emotional state of the lyrical hero. Thus, in the love lyrics of the poet, a mythopoetic picture of the world arises. The constructive principle of I. Iksanova's poetic speech is the use of repetition techniques. The article analyzes the love lyrics of Ilsiyar Iksanova, where the author also describes her personal experiences associated with the loss of her beloved husband. The system of images in the love lyrics of the poetess is surveyed.

Keywords: Ilsiyar Ikhsanova, love lyrics, Tatar poetry, emotional lyricism, artistic image.


There are writers who distinguish the centuries-old development of Tatar literature, both in terms of poetic presentation and amazingly subtle, elegant prose. The literary rhetoric of women, who have their own outlook on life, their own philosophy, their own attitude towards socio-cultural progress and their understanding of reality in terms of views, has changed in recent years. According to the literary critic N. Yusupova, "in general, in the XXth and XXIth centuries Tatar poetry, alongside with the development and continuation of the poetic tradition of the last century, has a new way of expressing its feelings, images and art” [10, P.132]. In modern poetry, "the spirit of contemplation, analysis and constant attention to the ever-changing spiritual world of individuals" have also left an imprint on the work of poets who have enriched Tatar poetry with tales of "glorifying the greatness of man, exalting purity and broad feeling, and possessing an epic language that becomes poetic" [1, P.152].

According to the literary critic D. Zakhidullina, the literary work of I. Iksanova is the introduction of Eastern romanticism to the modern literature [5].

In literary criticism, I. Iksanova's poetry, rich in pictorial means and symbols, has been studied to some extent [4], [9],but has not yet been fully scientifically evaluated. According to Ishmieva, “the poetess plunges you deeper into her inner world every day, makes you think, worry” [8, P.12].

I. Iksanova, with her skillful beautiful voice, highlights philosophically motivated problems, such as the meaning of life in poetry and prose, linking them with the philosophy of Love and Beauty, the imagesalso reflect“national mentality, as well as cultural and historical experience of cognition of the world, due to its expressiveness and emotionality”[3, P.44].

In I. Iksanova's poems, an attempt is made to create a complex picture using many techniques. Her spiritual poetry is rich in symbolic images that lead to the revelation of inner meaning.

Symbolic images developing the theme of mourning and tragedy in Iksanova’s later poetry

Poetry on the theme of mourning, which is a separate period in the work of IlsiyarIksanova, is marked by the bitterness of losing her beloved husband in her personal life. The problem of life and death which has worried mankind since ancient times [2, P.93]

 In the poems "Tragedy", "... do you yearn", "Thirst", "Farewell", "Insult", "Eternal Melody", "... I won't be happy without you", "Forgiveness", "Ildarima", "I ask for hope", "Today", "... If you say an offensive word", "... It's like I can't live without you ...", "... No one but you will ", "You're leaving... ", "Bitter fire", "Mountains" reflect the lyrical feelings of "I".

In the poems written by I. Iksanova when she accompanied her husband to the Tenshu Mountains, the line of longing is the keynote, longing and fear of separation and expectation of return. In the poem "... it is very hard, very difficult to part" it is said that the lyrical heroine is afraid of losing the other half she has been looking for for a very long time. With the help of the gradation method ("day", "moon", "river"), the feeling is intensified, and the reason for the lyrical heroine's anxiety is explained as "the turmoil of the world" [7, P.50].

The poet's fear of losing her happiness is also described in the poem "Today!", written in 1995. The verse begins with the joy of life, describing feelings and the ability to share sorrows with a loved one who is her support:

Today I do exist.

I can feel,

I can cry leaning to your shoulder.

I can laugh by joining the hum of the blizzard,

And I can make you smile, too [7, P.50].

The verse describes the pain of the transition from a happy moment full of joy from living together to a state of loneliness: "Different people can come to this state in different ways.... The doctors repeat yesterday's words, trying not to look at me. No! They don't know! This is my Ildar! He can't die. They still don't know who my Ildar is. They don't understand that I'm going to save him. They don't believe that my love will resurrect him. "Every time the doctors say no, I get annoyed".

She expresses her sorrow:

I begged; "No, don't leave!"

But you went away

without listening to me.

When your life is on the line.

What you do is our destiny “Fate” [7, P.88].

Since the tragic August of 1998, a single woman who became a victim of the tragedy of love has become the main subject of works, as well as the special theme ‘great loneliness’.

It is quite natural that the image of the mountain, which marked the scene of the tragedy, occupies a special place in the lyrics of the poet of this period: "When I found out that Ildar was going to the mountains again, I told him for the first time in my life: "Don't go, I'm afraid." It all started with a surprisingly large black butterfly that landed on my right shoulder and caused my doubts" [6]. For the lyrical heroine, mountains are the highest point of love ("You're leaving..."), a spiritual urge, a height that everyone should strive for, an incomparable force that can divide loving hearts ("Mountains").

In the poem "You're leaving ...", written on August 11, 1998, the mountain is understood as the highest peak of fate, which "we must climb", the height of love:

How can I climb the mountain of fate,

We were to climb together, all alone? [7, P.74].

Thus the poet enhances the feeling of grief. The last stanza says that the feelings expressed through the image of the mountain as "collapsed on life" have reached a point and sadness.

In the poem "Mountains" (2000), the mountain takes on the meaning of a wild force that separates lovers. The poet complains, expresses indignation that the mountains lured her lover, resorts to anaphoric techniques:

They separated you from me,

Leaving me forever without you.

I have the right to be offended,

because it happened:

They took your soul to heaven.

You were given to heaven…

Is it fate? [7, С.86].

In the third stanza, the lyrical heroine defines her current state as a state of psychological coma, which is "astounding for me" [7, С.74], when half of her soul ascends to heaven with her deceased lover, and points to the cause of internal and external contradictions:

And half of my soul is gone

With you... to heaven.

This situation is astounding for me,

For most people, being incomprehensible [7, P.74].

In the verses "Memory", "Tragedy", "... Do you yearn", which embody the tragedy to the fullest, the grief of the lyrical heroine is expressed in lines describing her despair and hopelessness in the future.

At the same time, the poet finds solace to the grief of a woman who has experienced a tragedy, affirming the eternity of love. Since 1998 in poems "The Last longing", "Bitter Fire", "... I found…, loved…, lost...", "... I'm glad I dreamed of you", "Fate" the aspirations to seek healing and consolation of a tired soul can be traced.

Thus, the eternity of true love is as true as the constancy of nature. The lyrical hero, repeating and intensifying her longing, replaces the symbol of the forest, rowan with guilder-rose, describing the loneliness of a person who has lost love with the epithet “bitter”, defining grief as a permanent state.


Philosophical reflections on the fate of a person, woman, family, love, emotional experiences attract the reader with sincerity of feelings, some sadness and an abundance of linguistic ornaments.

One of the main features of I. Iksanova's poetry is existentiality. Analyzing some of the author's poems published on the pages of the magazine "Kazan Lights" in 2014, the literary critic N. Yusupova considers that "images that convey the meaninglessness of life, the disappearance of human existence without a trace, reveal the purity of love in the poetic fabric, the pain associated with its disappearance" [10, P. 137].

Iksanova’s poems are characterized by soft lyricism, the desire to reflect "the finest movements of the female soul", the sincerity of her lyrical heroine. The poetess captures philosophical reflections on human destiny, family, love, experiences, characterized by sincere expression of feelings in a somewhat melancholic tone. The idea that a person's striving for self-improvement is a way to improve reality runs through all of Iksanova's work, while she does not give any individualized image of the heroine, but mainly focuses on the image of feelings. Iksanova depicts the difficulties of woman’s path to love, resorting to parallelisms (the seasons and the state of nature depict the state of a lyrical heroine), anaphoras and metaphors. Thus, Iksanova establishes the equivalence of man and the universe, showing that everyone is a part of existence, and sufferings of a single lyrical hero turn out to be a cause for world sadness.

Конфликт интересов 

Не указан. 

Conflict of Interest 

None declared.