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6. "Sarandib shohi uch yosh o ‘g ‘loninig ziyorati" asarida Navoiy asarlaridan parchalar va kitob haqida umumiy ma`lumotlar (G. Olimova maqolasi asosida)
Xristofor Armaniyning 1557 yilda italyan tilida Venetsiyada nashr etilgan "Sarandib shohi uch yosh o ‘g ‘loninig ziyorati" asarining ikkinchi qismida Navoiyning "Sab’ai sayyor" dostonidan Bahrom va Dilorom sarguzashti hikoya qilinadi. Bertels o ‘z asarlaridan birida G ‘arb adabiyotidagi bir mashhur asar “Sarandip shohi va uning o ‘g ‘illari sarguzashtlari” asarining Navoiyga tegishli bo ‘lishi mumkinligi haqidagi gipotezani aytib ketgan edi, lekin hech kim bu haqida hali jiddiyroq tadqiqod olib bormagan, Navoiy jahon adabiyoti xaritasiga yangi kiritiladigan shoir emas, uning dunyo tamadduniga ta’siri katta bo ‘lgan! », — degan edi.
So ‘nggi izlanishlarda “Sarandib shohining uch yosh o ‘g ‘loni ziyorati” asarining muallifi X. Tabriziy emas, bunday shaxs tarixda yashab o'tmagan, bu nom asarning italyan tiliga tarjiymoni Maykl Tramezzinoning xayoliy tasavvuri mahsuli degan fikrlar ilgari surilmoqda.
«Three princes of Serendip» kitobi 1964 yili Nyu-Yorkda nashr etilgan noyob kitob hisoblanadi. Ingliz tilidagi mazkur kitob italyancha (asliyat) kitobning o ‘n yoki o ‘n birinchi tarjimasi bo ‘lib, Elizabet Jeymes Xodj tomonidan nashrga tayyorlangan.
G. Olimova o`z maqolasida 1557-yilda Venetsiyada Maykl Tramezzino tomonidan «Sarandibning uch shahzodasi» nomi bilan italyan tilida bosilib chiqqan va muqaddimasida muallif tomonidan «Xristofor Armanodan eshitgan Sharq ertagim asosida yozdim» deb qayd etilgan asarning 1964 yilda Elizabet Xodjda Sharq adabiyoti syujetlaridan ta’sirlanish qay tariqa kechgani haqida fikr yuritadi.
O ‘zbek navoiyshunosligida «Sarandib shohining uch yosh o ‘g ‘loni ziyorati» nomi bilan tanilgan mazkur asar tabrizlik arman yozuvchisi Xristofor Tabriziy qalamiga mansub deb qaraladi. Bunday qarash sho‘rolar davrida bu haqda ilk marta maqola yozgan sharqshunos olim Yevgeniy Bertels fikri bilan bog‘liq. Bertelsning «Navoiy va Jomiy» nomli tadqiqotidan o‘rin olgan «Navoiy asarlarining G‘arbiy Yevropa tillariga qilingan qadimgi tarjimalari» nomli maqolasida Alisher Navoiyning «Sab’ai sayyor» asari ta’sirida yaratilgan ikki asar: yuqorida tilga olganimiz «Sarandib shohining uch yosh o‘g‘loni ziyorati» hamda gurji yozuvchisi Sitsishvilining «Yetti sayyora» asarlari haqida ma’lumot beriladi. Xususan, olim «Sarandib shohining uch yosh o ‘g ‘loni ziyorati» asariga kengroq to ‘xtalar ekan, uning muallifi sifatida Xristofor Armani Tabriziy nomini keltirib o ‘tadi. Bertelsning ma’lumot berishicha, ushbu asar tarjima xarakteriga ega bo ‘lib, 1557-yilda yaratilgan va 1766 yilgacha, ya’ni 209-yil ichida 11 marta qayta-qayta nashr etilgan.
1557-yilda Venetsiyada Maykl Tramezzino tomonidan italyan tilida nashr etilgan asar muqaddimasida «Sarandibning uch shahzodasi» muallifi mazkur asarni fors tilidagi ertakni italyanchada so ‘zlab bergan Xristofor Armanodan eshitganlari asosida yozayotganini ta’kidlab o ‘tadi. Ammo hech qayerda Maykl Tramezzino na mualliflar nomi, na uning tarjima ekanligini keltiradi. Aytish mumkinki, Maykl Tramezzino asar mullifi yoxud mualliflarini yashirishi bilan birga, yuksak mahorat va yangicha g ‘oyalarga yo ‘g ‘irilgan asari egalarining qaysi Sharq allomalari ekanligini yaxshi bilgan. Asarni butunlay o ‘zlashtirib olganlikda ayblamasliklari uchunmi, nomi hech qaysi manbalarda uchramaydigan Xristofor Armano degan shaxsni kashf etadi. Amerikalik sharqshunos olim Richerd Boyla o ‘zining «Sarandib shohining uch o ‘g ‘li» asari haqidagi 2000 yilda nashr etilgan ilmiy tadqiqotida Armano degan shaxs Tramezzinoning xayoliy tasavvuri mahsuli bo ‘lishi mumkinligini ta’kidlaydi. Binobarin, boshqa biron-bir tarixiy manbada bu nom qayd etilmagan.
G ‘arb olimlari mazkur asar Xusrav Dehlaviyga tegishli deb taxmin qilsalar, Bertelsning fikricha, kitob ikki mustaqil syujetdan tashkil topgan bo ‘lib, uning birinchi qismida Sarandib shohining uch o ‘g ‘li otalari huzurida yaxshi tarbiya topib, sayohatga otlanganlari va ko ‘p sarguzashtlarni boshdan kechirganlari haqida hikoya qilinadi. Shahzodalar yo ‘qolgan tuyani o ‘g ‘irlaganlikda gumon qilinib, ular borib qolgan mamlakat shohi Bahrom Go ‘rning huzuriga olib kelinadilar va aql-zakovatlari tufayli podshohning ishonchini qozonib, Bahromni o ‘ldirishni niyat qilgan vazirdan xalos bo ‘lishiga sabab bo ‘ladilar. Bertels ushbu syujet Xusrav Dehlaviyning «Hasht behisht» dostonidan olinganini ta’kidlaydi.
Asarning ikkinchi qismi bevosita Bahrom Go ‘r sarguzashtlari bilan bog ‘liq. Unda keltirilishicha, o ‘zining yovuz niyatli vaziridan shahzodalar yordamida xalos bo ‘lgan Bahrom ularni o ‘z xizmatiga oladi. Sal avvalroq Bahrom o ‘z sevgilisi Diloromni haydab yuborgan va uning firoqida iztirob chekib, xastalanib qolgan edi. Tabiblar uni davolashda ojiz qoladilar. Shunda shahzodalarning maslahati bilan yetti qasr qurib, Bahrom tungi uyqusizligi paytida turli mamlakatlardan kelgan musofirlarning hikoyasini tinglaydi. Yettinchi tunda Dilorom haqida xabar topadi. Bertelsning maqolasida keltirilishicha, «Sharq va G ‘arb» jurnalining noshiri, sharqshunos olim Benfey asarning ikkinchi qismi aynan Nizomiyning «Haft paykar» asaridan olingan degan fikrni bildiradi, zero, ushbu qismning Bahrom va uning sarguzashtlari bilan bog ‘liqligi uning shunday xulosaga kelishiga sabab bo ‘ladi. Bertels mazkur maqolasida ushbu qismning asl manbasini izlashga harakat qilgan va uning Alisher Navoiyning «Sab’ai sayyor» dostoni bilan bog ‘lanishi haqidagi ilk mulohazasini bayon qilgan. Bertelsning bu fikri keyinchalik ozarbayjon olimi G ‘. Aliyev, o ‘zbek olimlaridan N. Mallayev, N. Komilov, A. Hojiahmedov va boshqalar tomonidan aynan takrorlanadi.
Bahromning Diloromni yo ‘qotgandan keyingi holati Tramezzino asarida ham chuqur iztirob bilan tasvirlangan:
«He gave commands in a voice as sharp as lightning, as urgent as thunder. To the guards of the palace and to those who had driven Deliramma away, he gave instructions. «Hurry to the north and south. Hurry to the east and west. If need be, turn my entire empire upside down, but find fair Deliramma. Even at this moment a lion may be at her throat. I cannot bear to have her suffer. I cannot bear to have gone. So the guards rode off in search. And the anxious emperor walked back and forth, back and forth, as he waited for news of his missing love. When it come time to eat, Vahram’s face was long and sorrowful. The imperial cooks had prepared all of his favorite foods; but he tasted only a little rose petal pilau and called for some pussy willow broth. Every few moments he stood up and looked out to see if anyone was coming back with Deliramma, but none of the guards could find her. The search continued for many days. Crashing through the forests on elephants and racing along the imperial roads on horses, the pursued every rumor of where she might be. Unfortunately, the rain had washed away her footprints, and each disappointment was followed by another. At last, grieving deeply, the emperor gave up hope and became ill with unhappiness. He stopped going out of doors; and because Deliramma was not there to sing, he would allow no music within his palace. Although many noted doctors came to see him and consulted daily with each other medicines seemed to improve his pitiful condition. » (Three princes of Serendip).
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