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Many works in the literature of the people of the East are based on such traditions. One such work, the poem “Husn-u Dil”, has been interpreted differently among different people. It is not known in which folklore it originated and when it originated, but like all popular subjects, it was developed in the written literature of different people in the East and added to the treasury of their cultural and literary richness [5. 16-p.] Muhammad Niyaz Nishati's poem "Husn-u Dil" is based on such literary traditions. But Nishati's poem "Husn-u Dil" is one of the more complex works of mysticism than any other epic.
Like many poets, Nishati was inspired by the works of his predecessors and created his own works. In particular, the unique features of the works of the great poet Mir Alisher Navai have left an indelible mark on the heart of Nishati. The poet considered Navai as a pir. Inspired by his works, he began to write the poem "Husn-u Dil". The poet wrote the poem "Husn-u Dil" in a similar way to the poems “Khamsa”. In the play, the four poets who lived before him: Nezami, Dehlavi, Jami and Navai, paid respect to the “Khamsa” and tried to be worthy of them:
Ulki erur nazm eli sardaftari [9. 15a-p.],
Ahli suxan afsarining gavhari.
To‘rt kishi bordurur, onlar ayon,
Har biri hayroni erur, bahr-u kon.
So‘z tanida bordur anosir bular,
Kimki so‘z oytur ango nosir bular.
Ul birisin Shayxi Nizomiy degil,
Mamlakat-u mulki nizomi degil.
Bu biridur Xisravi olijanob,
Torami nazm uzra munir oftob.
Ul birisi hazrati Jomiy erur,
Dahr elining pok kalomi erur.
Yona biri bulbuli dostonsaro,
Ya’ni Navoiy erur ul xushnavo.
Among the above poets, Nishati had a high respect for Navai. The poet compares Navai to the moon in seven climates and praises him as the king among the seven poets:
O‘zga erur donish-u farhang anga,
Yetti falakdur eti avrang anga.
Yetti aqolim uzadur moh ul,
Yetti qalam aqlig‘adur shox ul.
Nishati's poem "Husn-u Dil" contains the collection "Khamsa". It is written in the same way as the poem “Hayrat ul-abror”, and the first chapter of the epic is similar to the text in the poem “Hayrat ul-abror”, as well as the definition of the word and the character of the pen.:
Bismillahir rohmanir rahim,
Nakhati izhori riyozi na’im.
Ziynat aro sarvi gulistoni noz,
Zebi chaman zebishi bo’stoni noz…
“Bo’ si baqo Qofida sobit qidam,
Toji sari borcha hudus-u qidam.
Bo’ldi hidoyat yuzining zevari,
Hayli balog’at boshining afsari…
Its plot is reminiscent of the poem "Farhod and Shirin", and the image of prayers, chapters and letters is reminiscent of "Layli and Majnun". The stories of “Chang”, “Daf”, “Nay”, and “Nagma” in “Husn-u Dil” are reminiscent of the legend of the strangers in “Sabayi Sayyor”. As in the poem of Navai, in the poem of Nishati Chang, Nai, Daf and Nagma are depicted as strangers and tell their stories in the presence of the king. Moreover, Nishati used these stereotypes for the epistemological content of the work, primarily for educational and moral purposes.
In addition, the work is based on mystical interpretations. In other words, the subject of the work is a combination of external and internal meanings. The reader realizes that a poem has two different meanings. For example, Fuad's friend Nazar Abi is said to have set out in search of water and to have encountered various difficulties along the way:
Bo‘yla berur bahr ila kondin xabar,
Hosil etib fotiha ketdi Nazar...
Goh gulistonaro aylab guzor,
Goh makon erdi anga xor-xor.
Gah edi maskan anga ko‘hi balo,
Gah edi ma’man anga dashti fano.
G‘urbataro gah to‘qub ashki niyoz,
Goh yug‘urur erdi nashibu faroz.
Har nafasi boshqa ajoyib ko‘rub,
Har damida o‘zga g‘aroyib ko‘rub.
Munqalib erdi bori ahvol anga,
Mushkil edi mushkil uza hol anga.
In the teachings of mysticism, there are several ways to reach the sect, enlightenment, and truth. This is not a simple path, it is a path to perfection. Perfection is achieved through love. The same thing is meant in the epic. In the epic, Fuad's (Love, Heart) love for Husn (Beauty) takes on an apparent meaning. Inwardly, as Navai puts it, "love is special" (It is to put a pure eye on a pure face with a pure look, and to move a pure heart with a pure face, and to enjoy the true beauty of the beloved lover with this pure means of mockery) [2. 37-p.]. It is the manifestation of Love in the Heart. The names given to the images, buildings and places of the work are also stamped with symbolism. This is the peculiarity of the epic "Husn-u Dil" (Beauty and Heart). The purpose of figurative love is to show it through real-life material; the joys and sorrows, the sorrows and joys, the struggles and dramas of the living are presented in images, in the process of depicting events, as a result of which the adventure of the Sufi uprising is embodied in the love story of a wide range of readers. This can be called the artistic interpretation of the philosophical and mystical meaning through the material of life. After all, life itself, with all its complexity and contradictions, is the interpretation of the science of God, its manifestation in images. Therefore, whether the poet is figurative or direct, he is an artistic interpreter of the enlightenment of the great God.
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