Алишер Навоий 4-том 2-сан (2024)
ALISHER NAVOI AND KAMOL KHUJANDI (CONSIDERATION OF POETIC CREATIVITY)
Бадриддин МАКСУДЗОДА
Аннотация
The article examines the level of spiritual and ideological influence of Kamol Khujandi (d. 1400-1401) on the work of Mir Nizomiddin Alisher Navoi (1441-1501). As mentioned by Navoi himself (in his works "Khamsat ul-mutahayyirin" and "Muhokamat ul-lug'atayn") and his contemporaries (in Khondamir's work "Makorim ul-akhlok"), he was influenced by the school of classical Persian-Tajik poetry from a young age and gained fame as a connoisseur of the subtleties of Persian poetry. Based on this, Navoi created most of his works following the traditions of Persian-Tajik literature. In particular, the author of the article cites the influence of Kamol Khujandi's lyrics on Navoi's ghazals. For example, most researchers acknowledge the following famous couplet by Navoi: Orazin yopgach kuzimdin sochilur har lahza yosh, O‘ylakim paydo bulur yulduz, nihon bo‘lgach quyosh. This couplet is recognized as a translation of Kamol Khujandi's following couplet: То рух напӯшӣ кай шавад аз дида ашки мо равон? Пинҳон нагашта Офтоб ахтар намеояд бурун. Translation: Until you hide your face, tears will not flow from my eyes Until the Sun is hidden, do not just appear as stars. In this article, the author focuses on proving the incorrectness of the stated assumption. The article acknowledges the presence of a certain degree of artistic harmony in these stanzas, and the presence of many subtle and creative differences between them is substantiated by strong evidence. To do this, using various linguistic and formalistic methods, the specific aspects of the technique of creating the poem of these two poets and the fact that the depicted phenomenon was created in a special style, the fact that the talent of each artist was used in covering the object of the image, the presence of their special creative approach is studied, and the change in artistic pathos in the above-mentioned stanzas is analyzed in detail. In particular, the differences between the poetic styles in these verses are studied from the perspective of linguistic poetics architecture (including phonetic, grammatical, and lexical composition, semantic intonations of words, artistic patterns, letter poetics, overall tone of artistic speech, and other aspects). Thus, Navoi's mastery in reconstructing the relatively closed poetic structure of Kamol Khujandi's verse and rediscovering its content is determined. To support his observations, the author cites evidence from the works of renowned classical and contemporary literary scholars.
Навои, Камол, газель, влияние, различие, “острание”, перевод, поэтический приёмNavoi, Kamol, ghazal, influence, difference,Навоӣ, Камол, ғазал, таъсир, тафовут, ошноизудоӣ, тарҷума, ҳунарсоза
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