The dualistic understanding of the world in the world's religious and philosophical teachings is based, as is well known, on the idea that the world is based on two opposite principles: matter and spirit, good and evil. Demonological images that represent evil in mythology, folklore, and literature of different peoples of the world are largely characterized by common character traits, although they vary in popular beliefs. The origin of evil spirits is also explained in different ways among different peoples.

In Arabic literature came from the pre-Islamic era of jinn, ghuls (female jinn), Ifrit. In the Arabian Nights fairy tales, genies can be both enemies and helpers of a person, if he owns a talisman. And now in the Egyptian village, and in the cities, there are beliefs in ifrits, "spirits of the earth", "sons of the wind", mermaids-jinni, luring night passers-by into the water.

Similar beliefs also existed among the peoples of Dagestan and are also reflected in Dagestan folklore; some of them still exist today. They are most clearly manifested in the genre of folklore called magical poetry, i.e. in spells, well-wishes, curses, as well as in ritual and mythological works. Words endowed with magical power and often tied to certain ritual actions could be directed both to a good cause (white magic) - ensuring favorable weather, obtaining a good harvest, healing from illness, a love spell, and to evil (black magic) - causing damage to health or even death, causing the enemy to fall on their heads and his relatives various troubles, etc. [Myths of the peoples of the world, vol. 2., 1980]. There were also spells accompanied by sacrifices, the origin of which is associated with an even older layer of beliefs. They were addressed to the spirits of nature and domestic spirits, whom they wanted to appease, with whom they tried to negotiate, being sure of their magical power.

In Dagestan folklore, the image of Iblis (devil, devil) was most often used in the genre of curses. The artistic device in this case was comparisons and personifications taken by nameless creators of folk poetry from a specific reality, which is characteristic of traditional folk artistic thinking. So, the Dargins had a curse: "Iblislis bismillagyon hIud gyish dune hiyaram big!" ("Let this world turn away from you just as Bismillah turns away from the devil!") [Abakarova, 1989, p.147]. In some mountain villages, young children were often frightened by Iblis in cases of their disobedience or mischief: Here comes Iblis, take it and eat it! Often, the inappropriate behavior of a person under various circumstances was explained by the fact that Iblis was sitting in it, or that this person contacted Iblis (such as the Russian "his demon confused"). In the proverbs used by modern people and other everyday folklore forms, echoes of ancient magical spells are clearly visible.

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Unlike popular beliefs about evil spirits, which are often fueled by pagan beliefs, the official canons of monotheistic religions, Judaism, Christianity, and Islam treat "evil spirits" only in one way - as a force that opposes God. In the most ancient parts of the Old Testament, the relationship between demons and God is not yet antagonistic (often they are not enemies and do God's bidding). In the later parts, the confrontation is clearly revealed. In the New Testament, Satan is the enemy of God and men, as well as their tormentor and tempter. Christianity teaches that there is a kingdom of God and a kingdom of the Devil, and between them there is an irreconcilable and constant struggle for dominion over the souls of people, and about the mission of the savior Jesus Christ, with whose arrival the power of Satan will end.

The devil (Iblis, Shaitan) in Islam is also an angel who opposes himself to Allah. It is much mentioned in the Qur'an. When God asked him what prompted him, unlike the people who prostrated themselves before Adam, to refuse to worship him, Iblis replied:: "I'm better than him: You created me from fire and him from clay" (Qur'an 38: 75-76) [Qur'an, 1999]. For disobedience, Iblis was cast down from heaven to earth, but received a reprieve for further punishment until the Day of Judgment. This delay he decided to use in order to harm people, leading them astray from the path of righteousness. He became the adversary of Allah, the tempter and seducer of man. To fulfill its goals, the devil can take the form of any animals and even people.

The image of Iblis the God-fighter is present in the works of prominent medieval Arab writers. The verses of the Qur'an quoted above, in particular, served as the motif of the famous qasida of the Arab poet Bashar ibn Burd (714-783).:

Iblis was more worthy of the old Adam...
You remember this in your pride.
Adam was made of clay, and Iblis was made of fire -
Clay is no match for the purest flame!

(Translated by B. Shidfar)

The great al-Ma'arri, in his" Message of the Kingdom of Forgiveness "(Risalat al-ghufran), put these lines of Bashshar ibn Burd in the mouth of Iblis himself," struggling in fiery fetters "in hell next to Bashshar. [Al-Ma'arri, 1990, p. 250].

Many Western writers have turned to the image of the devil at various times. The hero of Goethe's great "Faust" sells his soul to Mephistopheles, the theme of selling the soul to the devil sounds in Nikolai Gogol's" Dead Souls". A vivid phenomenon of Russian literature of the XX century is the image of Woland in the famous novel "The Master and Margarita"by M. A. Bulgakov. On the one hand, he is Satan, the devil, on the other-a just judge, giving everyone what they deserve. The devil in Bulgakov's description largely echoes the image of Goethe's Mephistopheles and as a result appears as an eternal powerful force, the master of hell, but, nevertheless, the embodiment of the eternal life principle of justice, which is subject to all living things.

The image of the devil (Iblis, Shaitan) occupies a large place in modern Arabic literature. At the very beginning of the 20th century, the Egyptian writer Mustafa Sadiq al-Rafi' (1880-1937), in his" History of Arabic Literature", traced how Shaitan was depicted in the works of medieval Arab writers [Ar Rafi', 1903]. In the 30-40s of the XX century in Egypt, as a result of the active penetration of Western secular, rationalistic ideas into public and scientific thought, the Islamic factor is growing in public life. There is a growing interest in the history of Islam in the literature. Many writers who defended secular culture and European science in the 1920s created fictionalized adaptations of Surahs, hadiths, and biographies of the companions of the Prophet.

Along with this, reflecting on the struggle in the world and in the human soul of two principles - good and evil, the authors often turn to the image of Satan, and interpret it

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in different ways. So, Tawfiq al-Hakim (1898 - 1987) dedicated a number of works to Satan, including the collection of "philosophical stories", as he defines their genre, "The Era of Satan" ("Ahd ash-Shaitan", 1938) and the play "Suleiman the Wise "(1943), in which Satan is depicted according to its interpretation in the Qur'an and in the hadiths of the Prophet Muhammad. In another work, Satan in Danger (1945), Shaitan appears as a supporter of peace on earth and an opponent of all wars [Al-Hakim, 1938]. The role of Satan's victim is played by the hero of T. al-Hakim's story "The Lost One" ("Ash-Shahid") (1953), which caused a great public outcry in the Arab world. T. al-Hakim also develops the theme of Shaitan in some short stories ("The School of Shaitan", "Iblis wins", etc.) [Izz-ad-Din, 1981]. The main idea of the writer is that the existence of Satan is justified by the need for man to distinguish between good and evil, consciously choose his life behavior, and actively fight against evil in all its forms for the triumph of good. The same idea is expressed by 'Abbas Mahmud al -' Akkad (1889-1964) in the journalistic collection "Iblis" (1955) and the story "Notes of Iblis" (1913) [Al-Hilal, 1982, N 5].

The list of works in which Shaitan is a character can be supplemented with Ahmed Fathi Ibrahim's story "God and Satan", in which the writer displays the terrible appearance of Satan, Mahmoud Teymur's short story "Smarter than Iblis", Fathi Radwan's play " Tears of Iblis "(1958), etc. It is characteristic that in all these works there are numerous references to the Koran and hadith, quotations from sacred texts. They have a preachy character and are aimed at moral education; the image of the Devil in them serves as one of the means to achieve this goal. Turning to the Qur'an and hadith, writers aim to convey their ideas to the reader, to make them understandable with the help of authoritative sources for Muslims. Their main task at the same time is to create immunity of inviolability around their works and around themselves.

One of the first modern Arabic novelists and playwrights to turn to demonological images was the Egyptian writer, known primarily as the author of historical novels, Muhammad Farid Abu Hadid (1893-1967). Many researchers agree that his work was significantly influenced by two factors-folk folklore and Western literature. If Abu Hadid was introduced to folklore as a child in his native village in the Nile Delta, then European literature interested him in the teachers ' college in Cairo, where he entered after graduating from high school in Alexandria. The writer's acquaintance with the classics of world literature began with his translations of English works, including Shakespeare. This largely determined his literary tastes, and later formed his views and beliefs. Abu Hadid is one of the founders of the literary magazine ar-Risala ("Message", 1933) and "Al-Saqafa" ("Culture", 1939). His achievements in the field of literature and education were awarded the State Prize of Egypt. He was elected a full member of the Academy of the Arabic Language (Kirpichenko, 1986).

The appearance of the image of Satan in some of Abu Hadid's works was probably the result of a mixed influence on his work of eastern pre-Islamic mythology and acquaintance with the works of European literature. Most interestingly, in our opinion, this image is embodied in Abu Hadid's play " The Slave of Satan "(Abd ash-Shaitan, 1945), whose hero Topoz evokes some associations with Goethe's Faust (Mekkavi, 1968). A kind of prologue to the play, clarifying the author's intention regarding his hero, are quotations from the Holy Scriptures given on the first pages of the play:"...To those who refrain from mentioning the Most Merciful, We will assign the devils, who will become their closest friends. Indeed, they will lead them astray from the Path of Truth, even though they are convinced that they are on the right path. And when they are brought before Us, he will say:

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(The misguided shaitan): "If only there were a distance between you and me from east to east! You're a bad friend!""(Quran: 43: 36-38) [Quran, 1999].

Based on the plot of the play Satan Ahriman (the name of the supreme deity of evil in Iranian mythology) saves Topoz from suicide, which the hero decides to do after being rejected by his beloved woman. Ahriman offers to settle all his life problems, domestic and material, if he agrees to become his slave. Somehow Ahriman manages to persuade Topoz to make an agreement with him. The hero begins to understand that in this terrible and unfair world, with the help of Satan, it will be easier for him to achieve what he wants. Moreover, reaching new social heights (up to the point that he becomes the ruler of the city), he does not forget about the poor, thanks to the help of Ahriman, he generously gives them material benefits. It is impossible to ignore one important point in the work of Muhammad Farid Abu Hadid, which is very significant both for the play "Slave of Satan" and for many of his historical novels, namely, the writer's interest in the problem of unfair power.

According to the Egyptian critic Izz al-Din Ismail, the prototype of the hero of the play Topoz was Mohammed Mahmoud, who repeatedly served as the prime Minister of the Egyptian government in the 1930s and received the nickname "the man with iron hands" [Izz al-Din Ismail, 1971, pp. 208-209]. The critic believes that Satan himself symbolizes the occupier [ibid., pp. 216-220]. The image of Topoz embodies the same educational and romantic aspirations that formed the utopian ideal of the heroes of Abu Hadid's historical works of art, such as Johi's dream of a just society led by a just ruler in his dilogy "The Sufferings of Johi", or Zenobia's dream of an ideal city in the image of Plato's state in the novel "Zenobia the Queen". Palmyra". Abu Hadid always paid special attention to the inner world of his character and its interconnectedness with the external world.

This new perception of personality in Arabic literature created prerequisites for the appearance of characters "... with more integral and at the same time more complex characters, whose relations with reality are formed dramatically due to the fact that their actions are driven by the desire for the ideal" [Tikaev, 2003, p.45]. At first glance, in the light of the above, it seems that there is a certain contradiction in the idea of Abu Hadid's work "The Slave of Satan". But one thing is certain - that the main idea of Abu Hadid's play was to improve the image of Topoz as a ruler (in this case, linking Topoz to Mahmud is more reasoned in the sense that both of them are rebels: Topoz-against Satan, Mahmoud as a strong person-against the invaders and injustice in Egypt). This is also indicated by the uncertain ending of the play. Throughout the play, there is a constant confrontation in the soul of Topoz - he then leaves Satan, then again, begging for forgiveness, returns to him.

Topoz is counting on Satan's help in creating better living conditions for the poor. Satan, by luring Topoz into the world of material values, tries to seduce and spoil the whole society through him. By helping the poor residents of the city to become richer, Satan, according to Abu Hadid, seeks to eliminate all conflicts and wars between people out of fear that the destruction of man will lead to the disappearance of Satan himself, that is, to the destruction of the difference between good and evil. Ahriman declares to Topoz: "Drop everything that is in your mind and heart. Start a new life on the way to a brighter future... Life, pleasure, power, and power are the only values that we should all recognize" [Abu Hadid, 1945, pp. 27-28]. Satan in the play of Muhammad Farid Abu Hadid also acts as an opponent of true, pure love, pushes the hero to betray the woman he loves. In Topoz's desperate attempts to break off his relationship with Satan, he was always helped by his friend - one of the rich residents of the city of Kaisun bek-and his daughter Suraya, Topoz's beloved. #

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Satan spoils his relationship with the woman he loves (as well as with his first wife, which is why at the beginning of the play the hero tried to commit suicide), pushing Topoz to adultery. Nevertheless, the hero's love for Suraya did not pass without a trace, it cleansed his soul and saved him from a complete moral decline. Topoz cannot live without Satan and his support. The play ends with the hero's plaintive pleas and satanic laughter in response.

Undoubtedly, in the play of Abu Hadid, the relationship between man and Satan symbolizes the confrontation of light and darkness. However, by separating light and darkness, the author does not call for the destruction of darkness, but stands, like other Egyptian writers, his contemporaries, for "balance" in nature. (The" Philosophy of Balance " (Falsafat at-ta'aduliyyah) was elaborated in detail by Tawfiq al-Hakim, trying to explain the struggle of opposing principles in the world and the possibility of bringing harmony into it.)

In Dagestani literature, the theme of evil spirits has been developed in recent years by the famous Dagestani novelist Magomed-Rasul, the author of many works on social topics, who has always been distinguished by his skill in displaying the life philosophy of ordinary people and sincere respect for them. People's Writer of Dagestan Magomed-Rasul (Magomed-Rasul Rasulovich Rasulov) was born in 1936 in the world-famous Dagestan village of Kubachi. After graduating from the Suleiman Stalsky Dagestan Pedagogical Institute (now Dagestan State University) in 1956, he worked in the public education system, headed a regional newspaper, and worked as an editor at the Dagestan Book Publishing House, which he now heads. Honored Worker of Culture of Dagestan, winner of the S. Stalsky Prize in literature, Magomed-Rasul has long been deservedly and firmly occupied one of the leading places among the few prose writers of the Republic of Dagestan. He was widely known for the stories "Savage Woman", "Mountain Carnation","Father of the Prophet". Magomed-Rasul's works have been translated into many languages of the world (English, French, Czech, Latvian, etc.).Some of his works are available in various libraries around the world, including the Library of Congress.

According to the writer himself (in a letter to the author of this article), in his work he did not think much about religious issues before, but in the last 10-15 years his interest in religion and its role has increased. Magomed-Rasul's works of the 1990s, "Notes of an Amateur", "A Clairvoyant Fool", and infrequent appearances in the press, unexpectedly revealed in him, in addition to the talent of a writer, the bright talent of an uncompromising publicist and essayist. The autobiographical novel " The Clairvoyant Fool "is similar to Rasul Gamzatov's book"My Dagestan" in its confessional and author's assessment of events. However, the 1990s - the time when Magomed-Rasul's story was written-were very different from the time when Gamzatov's book was written, which led to a completely different approach of this writer to the eternal questions about the meaning of life and the improvement of the human soul. The story is composed of separate, not always interrelated chapters. Magomed-Rasul is both an acting and reflecting subject in it, and an author-narrator. All this allows us to define its genre as a novel-essay. The core of the confessional narrative is the state of mind of the main character (Magomed-Rasul himself) in different periods of his life. In one of the chapters, he talks about how, under the influence of his mother, he became imbued with respect for the Koran and the mosque, and how, without understanding the words of prayer, he intuitively realized that he had entered into a great secret related to Allah. The work reveals the psychology of a person who is very similar to many of his compatriots, but differs from them in the awareness of the need to repent, frankly and sincerely confess to himself and others. The leitmotif of the story is the anxiety caused by the writer's impoverishment of human souls.

Magomed-Rasul's work was highly appreciated by many artists of the word and critics. Rasul Gamzatov once said that the prose of Mago-

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med-Rasul is characterized by restraint and seriousness, he does not pursue decoration, decorativeness, does not bet on exoticism. N. Gorbanev, in his article "Instead of a preface" to Magomed-Rasul's collection "Seven Stories" (2006), wrote about the story "The Evil Spirit": "The author's position, his pain and anxiety cannot but be evaluated and shared in connection with the presence and triumph of the "evil spirit" in various spheres of our modern life... The story of Magomed-Rasul resists this terrible flow, it protects authentic moral values, brings light and good" [Magomed-Rasul, 2006, p. 9]. The same article gives the opinion of Abdulla Vagabov about this story: "In fact, there is a lot of new things in its structure that were not previously observed in Dargin and in all Dagestan prose... The work has no analogues in the world literature in terms of the originality of the narrative material" [ibid., p. 6].

The story-essay (this definition is also applicable to this work. - G. T.), which is the subject of our research, was written by Magomed-Rasul in 1999. In it, however, the writer, as in all his works, strives for a philosophical understanding of the realities of life and for their objective reflection. As with all of his work, the story is characterized by a close attention to the impact on the inner world of the characters of events taking place in the external world. However, "Evil Spirit" differs from previous works primarily in that in the story there is always a child in the womb as the main character.

The story takes place in our days. The plot is simple: on the way of a young husband and wife, Mubarak and Oksana (this Ukrainian name is currently quite common in Dagestan), there are many obstacles and, above all, on the part of the hero's mother, who blames her daughter-in-law for all the troubles in her son's life. It is difficult to develop relations between the young people themselves. Oksana, brought up in a simple and friendly family, does not find support from her husband, who turned out to be weak-willed and goes along with her mother; he also accuses his wife of all her sins, humiliating her physically and mentally. The struggle between good and evil ends with the victory of evil. At the end of the story, Oksana gives birth to "something between a boy and a girl, a man and a monkey..." [Magomed-Rasul, 2006, p.489]. The dramatic ending of the story is due, according to the author's plan, to the tragedy of modern society. An ugly, immoral society cripples the souls not only of the living, but also of those who are born, and ultimately leads to the degeneration of the nation.

In the story, a significant place is given to discussing the eternal question of the human soul, as well as how much the atmosphere in the family and society affects the intrauterine state of the child and the formation of his soul. The author wants to say that Satan, by punishing this young family, is giving justice to the whole society, and that the struggle between good and evil continues. A kind of epilogue is the words of Leo Tolstoy, quoted by Magomed-Rasul at the end of the story: "All the disasters of people occur not so much because they did not do what is necessary, but because they do what should not be done" [ibid., p. 490]. A characteristic detail - in the story of Magomed-Rasul there is no image of the "evil spirit" itself, Satan, but it seems to be invisibly present in everyone who somehow caused suffering to Oksana and her unborn child. This is Mubarak's mother, who cannot accept her daughter-in-law who came "not to court" and tries in every possible way to harm her, this is someone who played a cruel joke with Mubarak by throwing him a photo of his wife Oksana naked in the company of a strange man, and, of course, this is Mubarak himself, who, According to the author, "I could not allow Oksana's soul to be more sighted than his" [ibid., p. 417]. The author finds precise details, describing Mubarak's wayward nature and his harmful influence not only on Oksana, but also on the unborn child: "Mubarak suppressed Oksana with his oppressive gloom: he ate in silence, went to work in silence, went to bed in silence. His cold locking is like

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acid was eating away at her soul... At these moments, the child in the womb shrank as if from the dank dampness" [ibid., p. 409]. Mubarak .". .and he was burdened by himself, but did not take a counter step towards peace. Both tormented each other" [ibid., p. 409].

Magomed-Rasul draws an attractive appearance of Oksana, a typical Dagestani girl. The author does not give a detailed description of her appearance, depicting her as Mubarak sees her, " ... with a thick shock of black hair falling over her shoulders and chest, framing a guileless matte-white face with large agate eyes in which he drowned... "[ibid., p. 372].

The novel-essay "Evil spirit" is interesting and unusual skillfully constructed plot, and the original manner of narration, and lively, rich and juicy language, and scattered throughout the text with wise sayings and quotations from the works of great people of humanity (Montaigne, Byron, Tolstoy, etc.), and the author's own deep thoughts. The author with great skill conveys the atmosphere of modern life of our society with its "dollar weddings", scams and showdowns.

But the most unusual and new thing in the story of the Dagestani writer is the presence of a "fantastic" element in it. Sympathizing with his heroine, feeling sorry for her, the author does not idealize her image. In it, as Magomed-Rasul writes, sat " ... the restless spirit of Oksana in her former life. In her previous life, she was a plain Maisarati girl with rough, sensual features. Mindful of her lack, she squinted hungrily at people" [ibid., p. 411]. Nevertheless, " she exuded virgin strength and health, tenfold enhanced by the energy of irresistible love. She sent Salman invisible impulses, enveloping his heart with her sensual world. Isn't this how the expression "the heart gives the message to the heart" was born? Out of the blue, the rumor that Salman had opted for Maisarat hit everyone like a bolt from the blue. There was no end of gossip... You should have been born blind to marry such a monkey, " was the unanimous verdict of the Aul girls... The day after the wedding, aul gasped in amazement. It was as if the Maisaratas had been replaced: a painted beauty looked at them all glowing with happiness" [ibid., p. 412].

But, having married so successfully, Maisarat failed to save her love - after the first quarrel with her husband, she left him, returned to her mother's house and over the years "...passed away without forgiving her husband. So her stale and dislocated Soul endured in the Universe for two hundred years, until it found its flesh in a new incarnation-today's Oksana" [ibid., p. 413]. At some point, the reader thinks that the "evil spirit" is sitting in Oksana herself. She could have corrected her fate, because " ... now she was given another chance to improve herself. She was close to repeating what she had done, but she was tired of being stubborn... " [ibid., p. 360]. The author reproaches his heroine for not fighting enough for her happiness and the fate of her unborn child, as well as for the fact that she lacks compliance and the ability to get along not only with her husband, but also with everyone around her. The motif of reincarnation of the soul of Maisarat in Oksana performs to some extent the function of psychological analysis, helps the author to reveal the features of continuity and evolution in the psychology of the Dagestani woman.

The human Soul in the story is given a lot of attention. "Man was not yet born, and his Spirit was already floating around the world" [ibid., p. 360] - this is how Magomed-Rasul begins his story-essay. In a separate chapter of the story called "Soul and Body," he reflects on the reincarnation of souls. These reflections carry a serious semantic load in the story and are linked to Islam (although in orthodox Islam the idea of metempsychosis is absent). "Carried away by material goods and the wonders of technology," the author writes, " a person runs the risk of destroying life on Earth, because he thinks less and less about improving his Spirit, his morals. Does this mean that earthly joys are contraindicated for a Person? Allah does not condemn earthly pleasures, but the abuse of them to the detriment of caring for the Soul " [ibid., p. 363-

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364]. The author also talks a lot about the harmony in which the Soul and Body should consist, otherwise the reasoning about the soul, "after serving its term in a new Body, but never reaching the heights of knowledge, the Soul returns to the world of spirit and drags out a miserable existence waiting for its new incarnation. Therefore, Allah gives each Soul as many incarnations as it needs to achieve its perfection" [ibid., p. 366].

What follows is the conclusion that a person has never learned to get along with his Soul, nor to appreciate and understand it. In addition to talking about the soul, the story also includes the spirit itself-the ghost of the murdered sister of the owner of Hassan's apartment, where Mubarak and Oksana live. At night, this ghost in a white robe walks around the room and scares Oksana. The episode with the ghost appeared in the story based on the childhood memories of Magomed-Rasul: as a teenager, he heard from fellow villagers a story about how a brother killed his sister, and then she often dreamed of him and other people. The author writes that such a spirit damages not only the genetic apparatus of the killer, but also has a very negative effect on people living in the place where the murder was committed.

This is the life context of the story, in which the Soul of an unborn child is constantly present: everything that happens and what he hears in the womb is stored in his memory, whether it is Oksana's conversation with her mother Kumsiyat, the frequent quarrels of her parents, or, conversely, their warm relations. The author asks questions: "Why in the long history of mankind have people not developed rules of behavior of parents during the conception and birth of a child? Why is a society seemingly preoccupied with improving offspring so irresponsible about it? Why is man so complicated? Does he have to spend his whole life doubting and suffering, enduring and fighting?" [ibid., p. 469].

In the story of Magomed-Rasul, the relationship between man and" evil spirits", just as in the play of Abu Hadid, the relationship between man and Satan, symbolize the opposite of light and darkness. However, by separating light and darkness, these authors do not call for the destruction of darkness. Just as M. Bulgakov in" The Master and Margarita " did not doubt that man is a part of the universal harmony of the universe, which presupposes the closest connection of events, people and huge luminaries, Magomed-Rasul and Abu Hadid advocate balance in nature. Day and night, sun and moon, light and shadow are just as necessary for the balance of nature as good and evil are for human destiny, and the actions of Satan in the works of both Egyptian and Dagestani writers are to some extent aimed at restoring good.

list of literature

Abakarova F. O. Blagopozhelaniya i damnation v fol'klore dargintsev [Good wishes and curses in Dargin folklore] // Magical poetry of the peoples of the North Caucasus. Makhachkala: Dagestan Branch of the USSR Academy of Sciences, 1989.

Ал-Маарри Абу-ль-Аля. Favourites / Comp., preface, note by B. Shidfar, Moscow: Khudozhestvennaya literatura, 1990.

Abu Hadid, Mohammed Farid. Abd ash-Shaitan (Servant of Satan). Cairo: Dar al-Ma'arif, 1945.

Izz ad-Din Ismail. Humanistic problems in dramatic literature. Cairo: Arab Thought Publ., 1971.

Izz ad-Din Ismail. Tawfiq al-Hakim // Fusul. 1981. October, vol. 2.

Kirpichenko V. N. Modern Egyptian prose of the 60s-70s. Moscow, Main editorial office East. lit-ry, 1986.

The Qur'an / Translated from Arabic. and comments by M.-N. O. Osmanova. 2nd ed., reprint. Moscow: Ladomir Publ., 1999.

Magomed-Rasul. Evil spirits // Seven stories by Magomed-Rasul. Favourites. Makhachkala: Dagestan Book Publishing House, 2006.

Makkawi Abd-al Ghawwad. Reflections on Faust // A Distant Homeland. Cairo: Arab Book Publ., 1968.

Myths of the peoples of the world. In 2 volumes, Moscow: Sovetskaya entsiklopediya, 1980.

Ar-Rafi' Mustafa Sadik. History of Arabic literature. Cairo, 1903 (in Arabic).

Tikaev G. G. Egyptian historical novel (30s-40s of XX century). Moscow: Muravey Publ., 2003.

Al-Hakim Tawfiq. Ahd al-shaitan (The Age of Satan). Cairo, 1938.

Al-Hilal. 1982. N 5 (the issue is devoted to the topic "Satan in literature").

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