Crimean Tatar literature, which originated in the medieval Crimean Khanate, has endured Russian imperial censorship, Soviet repression, and mass deportations. Its journey mirrors the Crimean Tatar people's own odyssey, demonstrating the power of words to preserve identity and inspire hope even in the darkest of times.
Crimean Tatar literature dates back to the 13th century, with the earliest known work being Mahmud Qırımlı's poem "Yusuf and Zuleikha."
The Crimean Khanate period saw a flourishing of literature. During this time, literary works were recorded in Arabic script and evolved in three distinct directions: court, folk, and spiritual literature.
During this period, court literature (saray edebiyatı or divan literature) reached its peak. The authors of this era were mostly khans and aristocrats. Borrowings from Arabic and Persian vocabulary were a characteristic feature of this direction and poetry stood as the central genre of this literary tradition.
This period witnessed the emergence of notable poets such as Mengli Giray I and Bora Gazi II Giray, both khans of the Crimean Khanate. Bora Gazi II Giray's works "Rose and Nightingale" and "Mill Wheel" ("Dolab") were later translated into Ukrainian by Ivan Franko, who used German translations of the originals. Female poets also existed, including Leyla Bikech and Khan-Zade-Khanum, the wife of Khan Bahadir I Giray.
Folk literature
encompassed a wide range of genres, including wedding songs, lyrical and humorous songs, stories about everyday life and social issues, legends, fairy tales, riddles, proverbs, and sayings. One of the most common forms was the "dastan," a type of epic genre. The most popular dastans were "Çorabatır" ("Bogatyr Chora") and "Kör oğlu" ("The Blind Man's Son"). These works were written in vernacular Crimean Tatar, with fewer foreign language borrowings.
Ashik poetry was a distinct feature of folk literature. This genre included both authored and folk creations by poet-performers who recited their verses while playing the saz, a plucked string instrument. Ashik Umer, a celebrated Crimean Tatar poet from the 17th century, was one of the genre's most prominent representatives. Born in Kezlev (modern-day Yevpatoria), he travelled throughout his life, as was customary for Ashiks.
Ashik Umer's work is distinguished by its breadth of themes and extraordinary popularity. His poetic legacy includes more than 1,500 poems.
Spiritual literature included both philosophical and religious works. These were primarily written by Sufis, Islamic mystics, and philosophers, including notable figures like Ibrahim bin Hakk al-Kirimi, Muhammad al-Kafawi, and Selim Divane Kyrymly.
Notably, some works by Crimean Tatar writers of the time had ties to Ukraine. For example, in his 17th-century poem "Tugay Bey," Dzhan-Muhammad described the joint struggle between Cossacks led by Bohdan Khmelnytsky and Crimean Tatar warriors led by Tugay Bey against the Poles. Edip Efendi's poem "Sefername" ("The Tale of the Campaign") describes the events of 1648, including the Polish army's defeat at the Battle of Yellow Waters.
The Russians destroyed many written monuments dating back to the Khanate period.
In 1736, imperial troops set fire to the Khan's Palace and its library, which housed a large portion of the Crimean Tatar literary collection.
Following the annexation of Crimea in 1783, the literary process slowed considerably. In 1833, Russian authorities confiscated and burned numerous books, treatises, and manuscripts from private collections and mosques. Crimean Tatar literature experienced a period of decline known as "kara devir" or the "black century."
The revival of Crimean Tatar literature began at the end of the 19th century, thanks primarily to the efforts of Ismail Gasprinsky, a prominent intellectual and reformer. This period, known by researchers as the "uyanuv devri" ("awakening period"), saw a significant cultural and intellectual renaissance for the Crimean Tatar people.
Gasprinsky established the foundations for modern Crimean Tatar literature and journalism, particularly through his influential newspaper "Terciman." In addition to this publication, he founded the weekly newspaper "Millet" ("Nation") and the women's magazine "Alem Nisvan" ("World of Women"), which was edited by his daughter Şefiqa Gaspıralı. Gasprinsky also released the children's magazine "Alem Subyan" ("World of Children").
Gasprinsky was regarded as a talented writer. His masterpieces, "Molla Abbas," "Arslan kız" ("Lion-Girl"), and "One Hundred Years Later," had a significant impact on Crimean Tatar literature and culture.
Pan-Turkism, a cultural and political movement that promoted Turkic peoples' unity, had an impact on Crimean Tatar literature from the mid-19th to early 20th centuries. Gasprinsky was also a strong supporter of this movement, which contributed to the broader cultural awakening of the time. Gasprinsky's followers, including Ėshref Shemi-zade, Bekir Choban-zade, Shamil Alyadin, and Yusuf Bolat, continued his legacy.
In 1901, Abdullah Ozenbashly wrote the first Crimean Tatar drama, "Oladzhaga Chare Olmaz" ("What is Meant to Be Cannot Be Avoided"), which was a significant milestone in Crimean Tatar literature. Dzhelal Meinov led the formation of a literary circle called "Uchkun" ("Spark") in Bakhchysarai in 1906.
Crimean Tatars had an inextricable link between literature and education. Teachers often penned literary works, and writers often aimed to educate others. Thus, the important mission of Crimean Tatar writers throughout this period was to advocate for education, encourage school attendance, and promote women's and girls' educational opportunities.
The Soviet regime severely hampered the development of Crimean Tatar literature. In the late 1930s, Soviet authorities executed many prominent Crimean Tatar intellectuals, including writers, historians, public figures, artists, and educators.
The postwar period presented additional challenges, as the deportation of Crimean Tatars in 1944 severely disrupted the literary tradition. Until the 1970s, Crimean Tatar literature and its most important authors were completely silenced in the USSR.
As a result, the theme of deportation
became a central motif in the works of Crimean Tatar writers. Ėshref Shemi-zade, a poet in exile, wrote a moving poem about the tragedy titled "The Wall of Tears" in 1969.
Despite deportation and censorship, Crimean Tatars were eventually able to revive aspects of their literary culture in Uzbekistan. They successfully established a section for Crimean Tatar authors in the Writers' Union of Uzbekistan and obtained permission to publish and broadcast in Crimean Tatar.
On May 1, 1957, Crimean Tatars in Uzbekistan launched the newspaper "Lenin's Flag" ("Lenin Bayrağı"), reviving the former Crimean Tatar newspaper "New World" ("Yanı Dünya"). Yildiz ("Star"), a literary almanac established in 1977, provided a platform for Crimean Tatar writers to publish their work. Furthermore, the Gafur Gulam Publishing House of Literature and Art in Uzbekistan began publishing books in the Crimean Tatar language.
During this period, some Crimean Tatar writers and poets rose to prominence, emerging as active voices, including Emil Amit, Ayder Osman, Uriye Edemova, and Riza Fazil. However, the Crimean Tatars had a long-held dream to return to their ancestral homeland, as revealed by literary works from the 1960s and 1980s.
In the 1990s, Crimean Tatar writers began to return to Crimea. Shakir Selim and Yunis Kandym were among the first to return, followed by other notable figures including Refat Chaylak, Idris Asanin, and Rustem Muyedin. Their active efforts greatly aided a new Crimean Tatar literary renaissance.
For the first time in many years, Crimean Tatar writers were able to not only create freely but also discuss pressing issues affecting their community and actively participate in the revival of their native language. Crimean Tatar writers became members of the Ukrainian Writers' Union in 1992.
Annual creative meetings were held to help the literary community grow. During these gatherings, writers reviewed their activities, discussed future plans, and organized anniversary events commemorating Crimean Tatar and Ukrainian literary classics.
The themes explored in Crimean Tatar literature at this time frequently reflected the country's historical experiences. Notably, plays were written about the Crimean Tatars' deportation and return to their homeland. Examples include "Aphat" by Ervin Umerov and "Sengen Yildizlar" ("Extinguished Stars") by Rustem Muyedin.
Modern Crimean Tatar literature
faces ongoing challenges, particularly since Russia's occupation of Crimea in 2014. Occupational authorities have destroyed cultural heritage and eradicated the Crimean Tatar language and literature.
In response, Ukraine has launched initiatives to promote the development of Crimean Tatar literature. A notable example is the "Crimean Fig" (Qırım İnciri) project, which went live in 2018. This project seeks to support and promote contemporary Crimean Tatar writers. It includes a competition for Crimean Tatar writers, the publication of anthologies featuring the competition finalists' works, and the same-named festival with cultural and sociopolitical events.
Another significant initiative is the establishment of Kitap Qalesi ("Book Fortress"), a social enterprise dedicated to the development of Crimean Tatar literature with plans to print Crimean Tatar literature and expand Crimean Tatar publishing. Kitap Qalesi aims to preserve and disseminate the Crimean Tatar people's valuable heritage, as well as to introduce people to Crimea's authentic culture and history. It will be the first Crimean Tatar publishing house on mainland Ukraine.
Contemporary Crimean Tatar authors include Seyran Suleyman, Aliye Kenzhalieva, Asan Balyky, Maye Safet, Seyare Kokche, and others. Their works frequently address issues of identity, cultural heritage, and the ongoing struggle to preserve their language and traditions.
The story of Crimean Tatar literature is one of resilience and perseverance. From its golden age during the Khanate period to its revival in the face of deportation and current political challenges, it continues to be an important expression of Crimean Tatar culture and identity.
