He
started to work in Baku for this comedy
and completed it in summer 1913, in St.
Petersburg, where he lived and prepared
himself to enter the Conservatoire.
The
story itself was true to life. In early
XX century there aroused a wave of sharp
criticism in Azerbaijan public. It was a
criticism directed against prejudices, morals
and manners caused by Moslem traditions.
Striving for personal freedom and rights
of Moslem women became essential subject
for various discussions.
That
time a woman had almost no rights: she should
firstly implicitly obey her parents and
then husband. She wore a veil and was not
allowed to appear with open face at the
street. Only individual Azerbaijan women
could read and write. Eastern woman was
a kind of thing at home. Other people made
a decision for her fortune, and as a rule
she could marry only according to her parents’
will. However young men suffered a lot for
these traditions: in most events, bridegrooms
could see their fiancees only after the
wedding.
Nevertheless
the life changed and new generation of young
boys and girls desired building families
basing on mutual love. To see, to love and
only then to marry – it was a motive for
ingenious intrigue of “Arshin
Mal Alan”. The heroine of the comedy is
vigorous and smart beauty Gulchohra. She
personifies an image of new Azerbaijan woman.
And it was not casual that contemporaries
accepted this music comedy as challenge
to passing away laws, as appeal to emancipate
Azerbaijan woman.
Uzeir Hajibeyov himself was an author of libretto.
The comedy received its title from that
typical shout that street traders used to
in an old Azerbaijan.
Young
merchant Asker wants to marry. However he
wants to choose himself his helpmate. Meanwhile
Moslem tradition prohibited seeing the fiancée
before the wedding. Asker’s friend Suleiman
suggests him a cunning action. On his advice
Asker disguises as a poor “arshin malchi”
– scotch draper. So he could enter any yard
and choose his fiancée.
Soon
afterwards Asker found an apposite girl
among purchasers. She is Gulchohra, a daughter
of Sultan-bey. She also dreams to marry
by love. Young people feel mutual sympathy.
Gulchohra is full with resoluteness to strive
for her love. However, Sultan-bey does not
want misalliance. He agrees to give her
in marriage with rich merchant Asker, but
faces heavy opposition from Gulchohra. The
latter does not suspect (as her father himself)
that her lover is Asker. Misunderstanding became clear soon and the
matter completed by the wedding. Three more
couples marry at the same time: Widower-bey
marries Jahan, Asker’s aunt, inventor Suleiman
marries Sultan-bey’s niece – Asya, and Gulchohra’s
housemaid Telly marries Asker’s servant
– jolly Vely.
There
are no negative heroes in the comedy. According
to the laws of classic music comedy, major
heroes – Asker and Gulchohra come to the
fore. Their fortune and love are essential
in the intrigue line. They decisively stand
up for their rights for love. They are inspired
and romantic, without any prejudices. They
are prepared for anything for love’s sake.
The other couples, Sultan-bey and Jahan,
Suleiman and Asya, Telly and Vely are given
as lyric and comic characters.
Quiet
and even-tempered Suleiman-bey and Gulchohra’s
cousin Asya dream to be happy, but within
family traditions. Asker’s aunt Jahan and
Gulchohra’s father Sultan-bey are both representatives
of an old world. They do not even imagine
that centuries-old way of family life could
be changed. However even they aim to family
happiness and cozy home. Sultan-bey says:
“What does one need for the wedding? 3 manats
money, 1 mullah, 1 loafsugar, and that's
all.
And
at last Vely and Telly They are smart, jolly,
acute, and inventive servants. They dream
on love and happiness as well.
Music
is the most artistic and expressive source
in “Arshin
Mal Alan”. Its dramaturgic role is the major
one. According to its depth of images and
development level, “Arshin Mal Alan” is
close to the comic opera. Leitmotiv of love,
based on Asker’s
famous song from the second act assists
to unity of image and inflexion in music.
As a major musical and scenic form Uzeir
Hajibeyov selected aria, refusing traditional
couplet form.
