A PHILOSOPHER AT THE CROSSROADS OF CULTURES

The critics have always had an ambivalent attitude to the work of the great dramatist Mirza Fatali Axundov. His heroes have never been simply goodies or baddies. But as predecessors to Bulgakov's Voland [character in The Master and Margarita], as "a part of that force which wills forever evil and works forever good", they were ahead of their time, and through their sinister behaviour became an instrument of bitter satire.

The artistic method

Could Hatamxan-aga and Monsieur Jordan be described as protagonists? All kinds of things make up their characters (which is just as it should be). For example, Jordan, on the one hand, is a scientist who truly loves his job, but on the other he is a European conservative and a snob. In exactly the same way one should not regard the dervish Mastali, who treated the people of Karabakh as Voland treated the naive Muscovites, as a total villain. And even the people in his less well-known work "The Bear, the Victor over the Robbers", arouse mainly positive, although not clear-cut feelings.

In order to understand why Axundov chose this artistic method, it is important to understand the epoch itself. The 19th century in the Caucasus was a period of a great turning point in culture. It was here that East and West met. The way of life of many people (especially the upper class) changed. These changes coincided with the epoch of modernization and the scientific-technological revolution in Europe itself. It was not surprising that many people found themselves unprepared for this, especially where a deeply religious, traditional society prevailed. In the life of Axundov and other outstanding figures of that epoch one can trace a common denominator, which was a choice of path. Axundov, like other colleagues of his (Vazeh, Bakixanov, and others) took the side of progress.

But the difference was that, unlike the poets, the dramatist Axundov used his own methods in carrying out the tasks in hand.  In his works "The Deceived Stars", "The Vizier of the Lankaran Khanate" and "The Tale of Monsieur Jordan, the botanist, and the celebrated sorcerer, Dervish Mastali Shah" this spirit of contradiction of the epoch can clearly be seen. And it is embodied not only in the twists in the narrative, but also in the diverse characters of his main heroes, creating an aesthetically homogenous picture.

A re-thinking of views

Axundov himself became a kind of victim of these changes. Few people today remember the brilliant career he had in the civil service in the empire. Bearing a military rank in the Tsarist Army, he became a brilliant diplomat and also occupied the post of state councillor's assistant. He was awarded the Order of St. Anne and St. Stanislaus for his service. He travelled a great deal in his work, visiting Iran and Turkey, as well as Russia and Europe. He knew several languages and read a lot.

As his knowledge of the world broadened, he became more occupied by an air of doubt. When he was barely 30 years of age, in other words an adult and conscientious person, he completely revised his thoughts on religion, as was reflected in his treatise "Letters of the Indian Prince Kemal-ud-Doula to the Iranian Prince Jalal-ud-Doula and the latter's reply to these letters". In it he wrote: "We now need one science which leads to civilization, but religion, based on superstition, is an empty ghost." Naturally, such a harsh review of opinions at a mature age was bound to cause a stir. One must give his contemporaries their due - they embraced Axundov's work easily and rapidly and his plays were performed in Iran, Iraq and Turkey. During his lifetime his works were translated into Russian and Turkish and a number of dialects of the Persian language (his journalistic works were particularly successful). When the first Azerbaijani amateur theatres were set up it was to Axundov's works that the young theatregoers first turned.

The reformer

The aforementioned treatise was undoubtedly the peak of the philosopher's work and the quintessence of his ideas. It becomes clear from them how the mindset of a person living at the crossroads of cultures at a time of change can evolve. The treatise includes philosophy of the East, with its numerous references to monuments of Sufi thought, contemporary drama and French materialism.

As a reformer Axundov actively promoted the rights of women (which is evident from the crucial conflict in "The Vizier of the Lankaran Khanate") and he opposed superstition and stupidity, exposing the shortcomings of his contemporaries, including those living in Europe.  He was also one of those who drew up and tried to introduce the Latin alphabet in Azerbaijan and Turkey. Alas, this idea was implemented long after his death.

Both Axundov's creative work and his ideas about the world have found fertile ground. Over many decades cultural thinkers and luminaries of the East and the Russian Empire have frequently alluded to Axundov in their works. In Azerbaijan, in its culture and history, the thoughts of Mirza Fatali Axundov have the same standing as those of Pushkin in Russia, Goethe in Germany, Voltaire in France and Shakespeare in England. In this connection, it is not surprising that his first significant work was his elegy "On the death of Pushkin" (1837), which was translated into Russian and then published in the 11th issue of the journal "Moscow Observer". Also, like them, he never restricted himself to a narrow group of subjects and he was interested in many of the things that concerned his contemporaries, but unlike the majority he could take the next step; to complete an idea that was started beautifully and brilliantly, which generally speaking singles out a true genius.