Mongolian literature

Mongolian literature is used to denote literature that is predominantly written in the Uighur-Mongolian script.

The oldest surviving testimony is the Secret History of the Mongols (1227/64), a representation of the rise of Genghis Khan . In addition to heroic epics, which are still recited by rhapsodes today, Mongolian literature is rich in ritualistic and shamanistic ceremonial poetry , blessings and speeches, sayings of wisdom, puzzles , proverbs and songs .

A large part of the early Mongolian literature is characterized by the processing of Indo-Tibetan and Buddhist motifs and is anonymous.

history

When in 1990, in the year of social upheaval in Mongolia , the 750th anniversary of the “Secret History” was commemorated, it was a signal of national reconsideration and at the same time a sign of hope for a free democratic development of the country. Even if the general public was less likely to recall the first great work of written Mongolian literature and more the "great time" of the Mongols associated with the person of Chinggis Khaan, those interested in Mongolia and its culture could become aware that what a long literary tradition the nomad people in the heart of Asia have.

The Secret History of the Mongols , which has also been translated into German several times , is the most important work of ancient Mongolian literature and is of extraordinary importance both as a historical document and as a linguistic and literary monument. This epic prose and rhyming chronicle proves that it was not only the northern (Tibetan) direction of Buddhism, Lamaism, which had penetrated Mongolia since the end of the 16th century, founded written Mongolian literature. Nor does it obscure the fact that the Mongols have a rich oral literary tradition of at least eight hundred years . Some of this can already be found in the “Secret History”, but most of these works, which are still alive today, were recorded much later, often only by Mongolian and foreign scholars in the 20th century.

The tradition of oral folk poetry goes back to the 13th century. The storytellers and rhapsodes wandered from Ail to Ail and were always welcome by the herdsmen. The old genres of ceremonial poetry, as they were cultivated in the "original religion", shamanism, and were mostly effective in the form of praise (Magtaal), blessing (Jerööl) or cursing (Charaal) up to the present, belonged to this Life. The doctrinal sayings (Bilig) ascribed to Genghis Khan were also handed down over centuries - partly through the mediation of Persian historians. The epics in which Genghis Khan represents the most important hero figure are probably the same age; but they were only fixed later.

From 1200 to 1800: Religious literature and heroic epics

With the introduction of the Uighur script, individual literary works were already written down; but only a few testimonies have survived. After the introduction of the square script in 1269 and with the "triumphant advance of Lamaism" from the 13th century, an extensive religious literature developed. The translation of the Buddhist canon and also numerous non-canonical writings, especially from Tibetan, encouraged an ideal change in popular narrative literature (fairy tales, legends, animal fables). In addition to religious texts such as the biographies of saints (Namtar) and especially didactic poems (Surgaal), a rich, imaginatively bizarre narrative literature was created, to which above all the stories of the journey to hell belong. In addition, the folk song remained alive, which was later often transformed into an alternating song (as a preliminary form of theater play) with a socially critical and national patriotic tendency. This critical body of thought can also be found in picaresque stories and swans of the 19th and the beginning of the 20th century.

The wars with the Ming Dynasty in the 15th and 16th centuries encouraged the preservation of oral traditions but not their recording and transmission in writing. Nevertheless, the heroic songs stayed alive among the people, because they were the human “memory” of a great time. Especially since the beginning of the 17th century - since the beginning of Manchu rule - they provided support in a two hundred year epoch of national oppression. Among the numerous epics different scope of the project Gezer and Dschanggar out that to this day in various forms in all Mongolian peoples enjoy great popularity and counted in addition to the "Secret History" and the folk poetry of the "four pillars" of ancient Mongolian literature . With the exception of the Gesar, the epics of up to 20,000 verses were only recently written down. The predominant poetic form of expression was all-alliance.

Since the 17th century, the monasteries and no longer the royal courts were the centers of intellectual life and written literature. Copying religious texts was considered a pious act; more and more works in the monasteries were also reproduced in block printing. This Lamaistic literature was mainly written in Tibetan, just as Latin has long been the language of clergy and scholars in Europe. Very few, including some chroniclers, used the Mongolian written language; most of the authors were high clergy. Since the 17th century, stories of the journey into hell, which describe the wanderings of the soul through the various hells, have had a special place.

Secularization since 1800

An educated class of civil servants had developed under the Manchu rulers, whose members turned to literature. In the course of the 19th century, with the gradual secularization of society, poets appeared who belonged to the civil service and even to the great majority of the mostly illiterate cattle herders. At a time of escalating social conflicts, poets stepped out of their anonymity, and some of them showed their own, unmistakable profile. First of all Dulduityn Rawdschaa (1803-1856) should be mentioned here, who came from the poorest strata of the people and was recognized early as the rebirth of an important Lamaist saint of the "old" (unreformed) direction of Lamaism. Numerous teaching poems in Tibetan have been handed down by him, too, but the songs written in Mongolian not only show his close ties to the common people, they also enriched the poetry of emotions and experiences and have had a lasting effect to this day. During this time, the "Ug" ("Üge") literature (including Chuultsch Sandag) developed - in monological poems in more fictional animal language, animals express people's ideas critically. In direct contact with Chinese culture, the Mongolian novel was created, which was founded and represented by Injannasi (1837–1892) based on Chinese models . In addition to these “new” genres, the didactic poetry (Surgaal) turned into harsh social criticism, which is evident in Namdschildordschiin Danzanwandschil (1854–1907) and Rawdschaagiin Chischigbat (1849–1916). The reality content of such traditional genres as praise (Magtaal) and blessing (Jerööl) deepened. Examples of this are the works of Bawuugiin Gelegbalsan (1846–1923), a poor cattle herder whose Jerööl was widely used. With the economic decline at the end of the 19th century and the local uprisings against large Chinese estates, robber and soldier ballads emerged in large numbers.

From 1921 until today

Social upheavals at the beginning of the 20th century, such as the Xinhai Revolution , the attempts at autonomy in Outer Mongolia from 1911, the Treaty of Kjachta in 1915, but especially the proclamation of the Mongolian People's Republic in 1924, led to a strong influence of Russian poetry and literature. The increasing realism content, especially of later-born authors, is reflected in the growing diversity of genres, means of expression and literary techniques, even if the reception of works of western “modernism” was largely left out for a long time. Above all, the best works by Daschdordschiin Natsagdordsch (1906–1937) from the early 1930s testify to the successful merging of traditional subjects and forms with those of the recently “discovered” Western literatures. In addition, Tsendiin Damdinsüren (1903–1986), later the leading literary scholar in the country, should be mentioned with the story "The Spurned Girl" (1929), the first work of modern Mongolian prose.

The Stalinist waves of terror in the Mongolian People's Republic stifled the first beginnings of a new intellectual culture. The years of the rule of Choibalsan, the governor of Moscow (1937 / 38–1952), were marked by political purges . Educated citizens, lawyers, teachers, many writers, but above all the Buddhist monks were affected. The number of victims is estimated at 35,000 to 36,000 murdered. In total, the research assumes more than 100,000 persecuted people, and the number of victims is very likely significantly higher. All but four of over 750 monasteries were destroyed. At the same time, Stalin's henchmen destroyed the rich evidence of Mongolian handicrafts and burned most of the literature. Irreplaceable values ​​of Mongolian cultural heritage have been lost forever.

Only a few of the literary works that were created during this dark era have survived to this day. In later works, the artistic claim took a back seat to the political-educational, which was justified with a "theory of non-conflict" and was shown in frequent black and white painting and clichéd depiction of the figures. The collectivist view of life with its neglect of the individual was officially called for and had a long lasting effect. However, the best authors succeeded increasingly - since the 1950s, but especially the 1970s - due to their literary talent and their worldview, to break through the dogmas of "socialist realism" and to create lively, individual characters or to find their own language. This development ran parallel to that in the Asian Soviet republics, such as Kazakhstan and Kyrgyzstan (Aitmatow).

After numerous works were translated mainly into Russian, the international reach of Mongolian literature has increased considerably over the past forty years - with the exception of poetry, which was often considered non-transferrable. Must be mentioned here especially Byambyn Rinchen (1905-1977), Donrowyn Namdag (1911-1984), Chadraabalyn Lodoidamba (1917-1969), Begziin Yavuukhulan (1929-1982), Sengiin Erdene (1929-2000), Dembeegiin Mjagmar (1933 –1998), Dendewiin Pürewdordsch (1933–2009) and Lodongiin Tüdew (* 1935). These storytellers, poets or dramatists were often caught between recognition (they all received the state award, for example) and sometimes tough official criticism. Tschoidschamzyn Oidow (1917–1963), who liked to fall back on folkloric subjects, D. Namdag and D. Mjagmar are considered to be important dramatists . In many cases it was only in the 1980s that other and mostly younger writers succeeded in creating works that are characterized by the psychological and intellectual penetration of the literary figures - a relatively new phenomenon in Mongolian literature. Among the prose authors are Sonomyn Udwal (1921–1991), the best-known Mongolian writer, Sormuunirschiin Daschdoorow (1935–1999) and Dordschiin Garmaa (* 1937).

Lyric poetry, which is very popular with Mongols, reached a high level, such as the work of the only critic of the regime among Mongolian writers, Rentschinii Tschoinom (1936–1979), and that of other poets of his generation such as Mishigiin Tsedendordsch (1932–1982), Njambuugiin Njamdordsch (1934 –1996), again S. Dachdoorow and Sharawyn Sürendschaw (* 1938) attested. Here is mainly Bawuugiin Lchagwasüren called (* 1944), who found the political "revolution" of 1990 great recognition. After 1980, there was an increasing number of young female authors who found their domain in poetry and who enriched it with new perspectives.

After the first taboos were broken in the second half of the 1980s under the influence of the "New Thought" (here, Erdene, Mjagmar and Tüdew are mentioned above all for prose), many writers - who were mostly loyal to the state - hoped with the victory of the democracy movement on comprehensive artistic freedom. But very soon the whole harshness of the market laws became apparent: literarily inferior items appeared, traditional humanistic values ​​deteriorated, publications were no longer subsidized by the state. (An example of this is the publication of the literary magazine "Zog", which was discontinued for years in 1994 and, in relation to the population, was one of the largest circulation in the world.) In the meantime, the material situation of writers has improved again, and quite a few remarkable literary works have emerged that are characterized by high ethical standards, critical tendencies and cosmopolitanism. Of the “younger” authors, some of whose work has only gained full recognition in the last twenty years, only the poets Damdinsürengiin Urianchai (* 1940), Dandsangiin Njamsüren (1945–2002), Otschirbatyn Daschbalbar (1957–1999), Baataryn Galsansüch (* 1972) and the narrators Darmaagiin Batbajar (* 1941, also playwright), Sandschiin Pürew (* 1941), Baldschiryn Dogmid (* 1945), Dalchaagiin Norow (* 1951), Dambyn Törbat (* 1955), Sandschaadschawyn Dschargalsaichan ( 1957–1957 ) 2007, also playwright), Pürewdschawyn Bajarsaichan (1959–2007) and Dordschzowdyn Enchbold (* 1959) mentioned. The only writer in Mongolia whose books were published in German-speaking countries after 1990 is Galsan Tschinag (* 1943), who writes mainly in German. Less known as a writer in his homeland than in the West, his extensive work belongs more to German-language than to Mongolian literature.

literature

• Walther Heissig : History of Mongolian Literature. (in two volumes), Wiesbaden 1972. This fundamental literary history of the important Mongolist covers the 19th century and the beginning of the 20th century and also contains text samples by the poets (including by D. Rawdshaa), from epics and other anonymous works. - In addition, W. Heissig has published numerous, often very special, works on ancient Mongolian literature and the intellectual history of the Central Asian nomadic people.
• Erika Taube: Chrestomathy of Mongolian literature of the 20th century. Leipzig 1972. The introduction is designed as a sketch of the new Mongolian literature since 1921.
• Erika and Manfred Taube: (Mongolian) literature , in: Schamanen und Rhapsoden. Leipzig 1983. On folk poetry and written Mongolian literature before 1921.
• Renate Bauwe : Epilogue to: Explorations. 20 Mongolian stories. (East) Berlin 1976.
• Renate Bauwe : Mongolian literature. In: BI-Lexikon Ostasiatische Literaturen. Leipzig 1985. With 29 personal, work and material articles.
• Renate Bauwe and Fritz Gruner: National traditions of literature and problems of their processing in the creation of a socialist literature in Mongolia and China. In: Asia, Africa, Latin America. (East) Berlin, issue 13 (1985)
• Renate Bauwe : Looking for new values. Mongolian literature in reorientation. In: Mongolian Notes. Announcements from the German-Mongolian Society e. V. (Bonn). No. 4/1995. On the social and literary development after 1990.
• In Kindler's new literary lexicon in 20 volumes (Munich 1988–1992) as well as supplementary volumes 21 and 22 (Munich 1988) numerous articles on individual works of Mongolian literature were included (authors: W. Heissig and Renate Bauwe ).
• Klaus Oehmichen: Mongolian folk poetry and its influence on the development of modern Mongolian literature. In: Weimar Contributions. Issue 12/1984
• Klaus Oehmichen: Daschdordshijn Nazagdordsh - poet of the Mongolian people. In: New German literature. (East) Berlin, issue 6/1987. About the founder of modern Mongolian literature.
• Klaus Oehmichen: Mongolian poetry. In: Ostragehege . Journal of literature, art. (Dresden), No. 42, Book II / 2006
• Klaus Oehmichen: Broken Biographies. Mongolian authors who were in Germany as pupils, students and interns. In: Mongolian Notes. (Bonn), No. 15/2006.

Biographical sketches about five authors, a. a. D. Nazagdordsh and D. Namdag.

• Klaus Oehmichen: Thoughts on five central figures in Mongolian history and culture. In: Mongolian Notes. (Bonn), No. 16/2007. Contains u. a. a biographical sketch of the national poet D. Rawdshaa.
• Klaus Oehmichen: Ten Mongolian poets. In: Mongolian Notes. (Bonn), No. 17/2008. Biographical sketches of other important Mongolian writers.
• Articles on Mongolian authors and anonymous works can be found in all relevant GDR lexicons on world literature that were published between 1963 and 1988.

Newer publications from the old Mongolian literature in German

(The stated authors are mostly editors and translators at the same time.)

• Walther Heissig: Heroes, Descent into Hell and picaresque stories of the Mongols. Zurich 1962. Contains u. a. Tschinggis Chaan poems and excerpts from the Geser Chaan epic.
• Walther Heissig: Mongolian folk tales. Düsseldorf / Cologne 1963. A first comprehensive edition in German.
• N. Chodsa: The betrayed camel. Folk tales, legends and animal fables of the Mongols. (East) Berlin 1964 (a translation from Russian)
• Erika Taube: The leopard checkered horse and other Tuvinian fairy tales. (East) Berlin 1977
• Erika Taube: Tuvinian folk tales. (East) Berlin 1978
• Erika Taube: Tuvinian songs. Folk seals from western Mongolia. Leipzig / Weimar 1980. The last three titles mentioned contain folk poems by the Tuva living on the territory of Mongolia.
• Walther Heissig: Genghis Khan. A world empire on horseback. Cologne 1981. This volume contains a. a. the “Secret History of the Mongols” based on the first German translation by Erich Haenisch (2nd edition 1948) and an excerpt from the Mongolian national epic by Geser- Chaan.
• Klaus Koppe: Fire of Anger. A Mongolian minstrel poem. Leipzig / Weimar 1985. Perhaps the last heroic epic in world literature from the 1930s, a time of struggle against the Japanese aggressors in Inner Mongolia.
• Manfred Taube: Secret History of the Mongols. Leipzig / Weimar 1989. The last translation of the most important work of old Mongolian literature into German.
• Waltraut Fischer: Solombo Chaan. Mongolian fairy tale. (East) Berlin 1989. Retelling of Mongolian folk tales for a broad readership.
• Erika Taube: Folk Tales of the Mongols. Munich 2004. A comprehensive, scientifically prepared collection of Mongolian fairy tales.

Publications from modern Mongolian literature in German

Volumes of short stories and novels

• Renate Bauwe (Ed.): Explorations. 20 Mongolian stories. (East) Berlin 1976. The first volume of prose published in German from modern Mongolian literature with stories from 1929 to 1972. It also includes all the important Mongolian storytellers of the first two generations after 1921.
• Tschadraawalyn Lodoidamba: The transparent Tamir. (East) Berlin 1978. This extensive novel gives a comprehensive picture of Mongolia's society from 1914 to the beginning of the 1930s. Unfortunately a translation from Russian, no list of persons.
• Sengiin Erdene : Sun cranes (stories). (East) Berlin 1979 (translation: Renate Bauwe ). The first volume of short stories by the most translated Mongolian prose author in German.
• Galsan Tschinag: A Tuvan History. (Erzählungen), (East) Berlin 1981. The first book publication by the German-speaking author from Mongolia.
• Lodongijn Tüdew: Acquaintance with the world. (Episodic prose), (East) Berlin 1982. (Translation: Galsan Tschinag ) Autobiographical memoirs, written for children and adults.
• Sengiin Erdene : Herd dust. (Short stories), Ulan Bator 1983 (translation: Galsan Tschinag )
• Sonomyn Lotschin: The color of the soul. (East) Berlin 1983 (translation: Renate Bauwe). This novel tells of the tense life of two generations of miners. In it, for the first time in Mongolian literature, the effects of the Stalinist reprisals on the fate of individuals are shown.
• Schagdardshawyn Nazagdordsh: Mandchai the wise. (East) Berlin 1988. (Translation: Renate Bauwe ). The novel takes us back to the 15th century, a time when the descendants of Chinggis Khaan made their last successful attempts to hold the Mongolian homeland together.
• After 1992, von Galsan Tschinag published over thirty volumes of stories, poems and essays as well as novels, with which he became widely known as a German-speaking author.
• Sengiin Erdene : "The Hunter's Wife, The End of the Serüün Temple" Translated and edited by Renate Bauwe . Publisher: Books on Demand ISBN 978-3-8370-3844-6 , 132 pages, 1st edition April 2009

Poetry

Little was known of the rich Mongolian poetry until recently. Poems have recently appeared in: Ostra-Gehege, Zeitschrift für Literatur, Kunst (Dresden), Issue II / 2006 and Issue III / 2011 as well as in Mongolische Notizen, Issue 17/2008, No. 18/2009 and No. 19 / 20 2011. In spring 2014, the first German-language anthology of Mongolian poetry from the 13th century to the present was published by Leipziger Literaturverlag under the title "Times wander under the Eternal Sky. A string of pearls from Mongolian poetry" (edited by Klaus Oehmichen, watercolors by Barbara Große ). All updates - also in the magazines mentioned above - are by Klaus Oehmichen.

See also

• List of Mongolian epics

Individual evidence

1. ↑ http://www.wissen.de/wde/generator/wissen/ressorts/unterhaltung/buecher/index,page=1193392.html  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.  
2. ^ Daniel Schmückin, Raffaela Helf: The processing has started. Political persecution in socialist Mongolia. in: Country reports, Konrad-Adenauer-Stiftung eV, January 2017, p. 1.
3. ^ Marion Wisotzki, Ernst von Waldenfels, Erna Käppeli: Mongolei. History. Trescher Verlag, 2014, p. 66.
4. ↑ Sunjid Dugar: The principle of equality in relation to the general law on equal treatment in German and Mongolian law. Herbert Utz Verlag, 2009, p. 49.

Web links

• Mongolian literature (German)