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14th CENTURY PERSIAN POET KHWAJU KERMANI AND AZERBAIJANI LITERATURE
Allahverdiyeva Z.
Institute of Literature Named After Nizami Ganjavi, Azerbaijan National Academy of Sciences, Baku, Azerbaijan
7. "Molla Nasreddin" Encyclopedia. Baku-"Science" -2020
8. "Azerbaijan" magazine, 1967, N-5, p.59.
9. "Molla Nasreddin", 1906, N-10.
10. "Molla Nasreddin", 1907, N-13.
11. "Oriental Woman", 1924, N-10.
12. "Molla Nasreddin", 1923, N-12
Abstract
Khwaju Kermani, who has replied the "Khamsa" (Quintet) of the great Azerbaijani poet Nizami Ganjavi in 14th century after Amir Khusraw Dihlavi was a master distinguished amongst his contemporaries by his talent and intellect. We know researches of great importance touching upon the life and works of Khwaju Kermani in the world of oriental studies written by Sh. Rye, P. Khammer, F. Erdman Schefer, Pitsi, E. Braun, A. Krimski, Y. E. Bertels, Y. Ripka, Z. Safa, M. Moin, A. S. Khansari, S. Nafisi, K. Ayni, S. N. Kermani, F. Koprulu, N. Sayfiyev, H. Arasli, A. S. Lavand, Q. Aliyev, M. Kazimov, B. Guliyeva etc.
The role and influence of Azerbaijan poetic school in the development of creativity Khwaju Kermani have been researched in the article. The main question of the work is studied in three directions; the author outlined the biography of Khwaju Kermani, studying his literary environment as the creative activity of the poet was connected with Azerbaijan and the Turkic people; by the examples of the classical poets of Azerbaijani schools - Katran Tabrizi, Khagani Shirvani, Makhsati Ganjavi and Nizami Ganjavi, the author examines the impact on the creativity of Khwaju Kermani According to the statements of the Khwaju-ye Kermani on creativities of Katran Tabrizi, Khagani, Nizami, it's obviously, that he glorified and value their creativeness. The paper also examines the impact of Khwaju Kermani's creativity on the development of Turkic language literature.
The themes created by Khwaju Kermani in his works "Humay and Humayun" and "Flower and Novruiz" were very original in the Turkish literature of Middle Ages. There are ancient history, sources, as well as mythical sources of these works related to the Turkic folklore and epic creativity.
Khwaju Kermani has exerced serious influence on the Turkish poetry not only by his masnawi in the theme of love, but also works in the philosophical and didactic spirit.
Keywords: Khwaju Kermani, Katran Tabrizi, Mahsati Ganjavi, Hakani §irvani, Nizami Ganjavi.
1. 14th century Persian poet Khwaju Kermani
Khwaju Kermani, who has replied the "Khamsa" (Quintet) of the great Azerbaijani poet Nizami Ganjavi in 14th century after Amir Khusraw Dihlavi was a master distinguished amongst his contemporaries by his talent and intellect. We know researches of great importance touching upon the life and works of Khwaju Kermani in the world of oriental studies written by Sh. Rye, P. Khammer, F. Erdman. Schefer, Pitsi, E. Braun, A. Krimski, Y. E. Bertels, Y. Ripka, Z. Safa, M. Moin, A. S. Khansari, S. Nafisi, K. Ayni, S. N. Kermani, F. Koprulu, N. Sayfiyev, H. Arasli, A. S. Lavand, Q. Aliyev, M. Kazimov, B. Guliyeva etc.
The main question of the work is studied in three directions; the author outlined the biography of Khwaju Kermani, studying his literary environment as the creative activity of the poet was connected with Azerbaijan and the Turkic people; by the examples of the classical poets of Azerbaijani schools - Katran Tabrizi, Khagani Shirvani, Makhsati Ganjavi and
Nizami Ganjavi, the author examines the impact on the creativity of Khwaju Kermani According to the statements of the Khwaju Kermani on creativities of Katran Tabrizi, Khagani, Nizami, it's obviously, that he glorified and value their creativeness. The paper also examines the impact of Khwaju Kermani's creativity on the development of Turkic language literature.
2. Literary Relations
It should be noted that among the poets serving in the Palace of Halaku in 14th century who were followers of the Azerbaijani literary school it is imposibble to find a second master of pen, being sensitive to Nizami Ganjavi as Khwaju Kermani.
It is no coincidence that at the end of his masnawi "Flower and Novruz" after emphasizing the theme of the delicate and beatiful epic "Khosrow and Shirin", which was ancient, but also fresh forever and valuable by him, he wrote:
j^j^j ¿A, ^¿jjl lii
jAjXj ^j . ^v
^jjj^ j^ ¿jjjj
^Ikj ^JA j^lji. jt[11]
Ever since the blue skies were created and the world has been enriched with elements, poetry has never seen a disciple of Nizami like Khwaju in sweet words.
It should be noted that Hafiz Shirazi also wrote the below indicated distich about Nizami under influence of his teacher Khwaju's aforementioned hemistiches: C Jt f^j j
ljjj gjA jl jt
Let's talk about Nizami's poem that there is no other poet in this old world who speaks so well. In addition to being a follower of Nizami's art, Khwaju was also a follower of the Azerbaijani literary school as a whole. The poet, who grew up in a noble family from childhood, received a perfect education, earned the nickname "Khwaju of Kerman" in poetry spent 19 years of his life in travel with the desire to gain more knowledge and enlightenment in his youth, to meet the great masters and Sufi sheikhs of his time. The environment in which Kermani grew up was not enough for a great artist, it was narrow in terms of expressing his ideas and thoughts, and he longed for the cultural centers of that time. [11]
It is known that while travelling during 13181336, Khwaju Kermani visited Iran, Azerbaijan, Arabia and went on a pilgrimage to the Kaaba. While visiting these places, he met with prominent personalities of the time and gained rich scientific and literary knowledge. The poet expressed his impressions while visiting cities such as Tabriz, Isfahan and Hamadan. He writes on his Divan:
■ -""'^ ^iaxj jli£ jtljt
■.jl^jt jjjjj oU^ u^jJ [3] Khwaju, the Tigris side of Baghdad is a paradise, but the area around Tabriz is more pleasant. While remembering the famous minister Nizamul-mulk, in his work "Govhername", Khwaju Kermani wrote about Tabriz:
Uj' '■'""- • j! jjjjj 4j
ul^Jt jlj^j^ [11]
The moon of his life was eclipsed in Tabriz, and in Charandab he was buried. It is known that Charandab is one of the famous districts of Tabriz. During his visit, Khwaju expressed his longing for Kerman in his poems and he also mentioned in his Divan that he was in the Nahavand and Alvand mountains of Azerbaijan:
jl&L. j! ^Ijj uj^^ jjj jl lj ■^J^J J^
^lt ^ljA jtljt ^jjJl j jji 4j ^jjLi ^Jj
[3]
Mutrub (musician), play some music, let's remember Isfahan
Let music take our hearts home from Nahavand. Khwaju is in the air of Kerman land, But Alvand's stones crush his feet. Or,
fjljj Jj.m jSl jjl Jjj Sip jl ^jjJl o^b ^j^ ojt [3]
The floods that flowed from my eyes became a river,
Alvand's foot was like the Tigris of Baghdad.
The city names Hamadan, Nahavand, Tabriz and Hijaz are used frequently in Divan. We know that Khwaju Kermani visited Iraq, Egypt, Syria and otehr countries. In "Risaletul-Badiye", turning his face to the world of Jerusalim said that he was friendly terms with saints and went on a trip together with Iraq's great figures aimed at Hijaz.
After visiting Kaaba the poet arrived to Bagdad city. Within 1331-32, the Bagdad literary environment left its indlible mark on the poet's life. In this city he met with the most famous Sufi sheikhs of the time.
The first masnawi (Humay and Humayun) from the series "Khamsa" was written in 1332 namely in Bagdad. He has dedicated this work to Abu Said Bahadir khan, the Elkahni ruler; the poet visiting Tabriz in 1335 after the death of Abu Said Bahadir has presented it to the ruling Arpa khan. As researches prove, when Arpa khan was executed in 1335, Khwaju Kermani was in Tabriz, that's why he dedicated an elegy to his death.
When thinking about the sources of Khaju Kermani's poetry, one remembers the works of Firdovsi, Qatran Tabrizi, F. Gurgani, Anvari, Govhari, Khagani, Mahsati, Sanai, Mevlana Rumi and other Eastern poets. In "Flower and Novruz" he wrote about the poets belonging to the Azrbaijani literary school, first of all Nizami Ganjavi and Gatran Tabrizi: ^jt ¿jt jlj ^^l^j Jlt J^J-J f^j 4j Jjjl ojjs jlj^S ^j^jj' ljA
J. ^jjjl jl
s^jl^ jlj ^jlj. jl S^jU jl. JJ Jijjl jjj. [11]
When Nizami described Bahram's condition in "Seven beautie",
he spoke of Fortune's betrayal. Learning Qatran's enthusiastic poems by heart, Anwari looked up at the sky. Hadiqa is keepsake of Sanai. Azraqi's love remained on the strings of the saz. The most authoritative conclusion reached by philologists in the world of science is that Qatran Tabrizi's smooth inspiration, simple and beautiful style, of course, did not go unnoticed in Khwaju's poetry.
Khwaju Kermani's work, which is considered an undeniable classical treasure, is also closely connected with the art of Khagani Shirvani and Mahsati Ganjavi, the leading and excellent masters of the Azerbaijani literary school. Khagani's rhetoric had a profound effect on a number of artists in the East, as well as on the work of Khwaju Kermani. Khwaju Kermani highly valued Khagani's art and considered himself his faithful successor. For this reason, he wrote in Divan: ^jliU j ^jliU l_ulj ji ^jUj j ^jljo. ^jlj jj[3] You are the assistant of Khagani and the Khagani of the time,
You are the second Sahban and the Hassan of time. Khwaju mentions Khagani again in the section "On composing this book in the past and his condition" of the masnawi "Flowers and Novruz". Recalling the images of Khagani in the description of the morning, he said:
fW- jljj 1 jj,jj
flj Ij ¿rl jj ^jlal^ Aj
Jj^ji^i jt'h nr ^^jj1 ^
JJjll^ jlc-jr A'nlSjS Ijj [11]
According to Asjadi, in this world where the streets are paved with glasses,
Khagani's name was like the sun. The morning winds awakened those who were intoxicated,
The song of the night birds stopped. As it seen, the poet used Khagani's poetic style in his work. The following style of Khagani's poem confirms our opinion:
jIJK jj i " jl^al AJJIC- L^ UJ^Wj jl^dj ^j^ ^Ij^ j ^jjj f^
jjilS Ij jIJ Ajlrj
jlj ^^jlc- ¿Ji^i jj jjS AjJlc- j^ j j^ij^i j j^^iLl jl i ^^
jLLc. ^Kj' ^j^ ^¿^ [6] When the morning winds sprinkle perfume on the flowerbed,
I woke up with a sweet scent. At the time, musk and camphor were intertwined. It was as if my lover's fragrant curls were scattered on her white face.
Lilacs, irises and flowers in the six-sided space began to emit a pleasant fragrance without any suggestion from the perfumer. As in the poems of Nizami and Khagani, the Turkish image, as a symbol of beauty stands in the foreground and is one of the main features of the Khwaju style. The poet's source of inspiration is Turkish beauties. According to Khwaju, the Turkish image is a symbol of secular and divine beauty, spiritual perfection and divine love. From this point of view, Khwaju's works are important in terms of poetic language and style and are one of the brightest examples of Turkish style in Persian poetry. The sympathy, love and nativeness for the Turks are vividly reflected in his "Khamsa"; it should be noted that this important quality occupies an important place in his "Divan" as well. A number of issues, such as the undeniable influence of Turkish poets, especially the style of the Azerbaijani literary school on Eastern poetry, are noteworthy; during the research, it should be taken into account that the poet lived and worked in the political and social environment during the time of the Turkish rulers. Let's take a look at some of the many examples in Divan:
^jj^j Ajljjp jl i [3]
O beautiful Turkish girl! With this chain of hairs, It is necessary to get rid my hand of this madman world.
^jjjlj A^-j ^ji' jl ¿JjS A>JA
j jj' Ij LL^. ^ji' ¿j^j [3]
Everyone says that because of the Khatai Turk, You will always be wrong, because she was a Turk, but also from Khatai. The important influence of Mahsati Ganjavi's quatram on Khwaju Kermani's work is obvious. Like his predecessor Mahsati, he also widely propagated the pot-house, friends of God, masters of science and
knowledge, piri-mugans (wine-scoopers), through Sufi symbols pertained to pot-house.
It is known that the main meaning of Mahsati quatrams is established on the basis of the general humanist philosophy, and the purification of the society, the life of the human being, the suffering and joy, the honor, the dignity of the mind have always caused him anixety:
^JJr jjr ^itjlj^ jj j
jjr Aj j sjl^^i fjjr Aj fjj Jjb jl jl AS ^ jjj^j ^jli ^jjj JLi jl Aj Ciljlji. ^JjJ [4] We are wine-lovers, our place is a tavern. We love neither sejjade nor interlocutors The confessor does not drink wine because it is forbidden,
The sediment of wine in the tavern is better than orphan property.
In one of his ghazals, Khwaju Kermani quoted this quatram of Mahsati and wrote the following verse: ■ _ jjjj ¿jj^^j jl jSl ^jla jl^jjj Jlr jl Aj fU jSja. jjo. [3] If the confessor does not refrain from the wine, it is not a shame,
The blood of the liver (wine) was better than the property of orphans.
3. Development of the Epic Genre in the East As it is known, Khwaju Kermani's belonging to the Azerbaijan literary school reached its peak with his "Khamsa".
1. The first Masnawi written by Khwaju in response to Nizami's themes in the context of the series "Khamsa" is "Humay and Humayun". The poet wrote this work in 732/1332 in accordance with the measure of mutaqarib, i.e. in the measure of Nizami's poem "Iskendername". The work tells the story of Shah Humay's love for the Chinese prince Humayun. The work was also published by Kamal Ayni and Parviz Natel Khanlari. [9]
The Azerbaijani scholar Bilgeys Guliyeva has a valuable monograph on the poem "Humay and Humayun". [5]
However, it is important to study the etymology of the image Humay in relation to Umay of Turkic people and its myth archetypes - gods and goddess. According to the prominent Azerbaijani scholar Mirali Seyidov, one of the reasons for the widespread of the image Umay in the world of myth of Turkic peoples is the proximity of their roots and genes. [7]
The ancients versions of the epic "Humay and Humayun" were known to Nizami as well. It is no coincidence that in the poem "Haft paykar"("Seven beauties") of Nizami one of the seven beautiful girls seen by Bahram in Khavarnag
was "Humay, daughter of Geyser".
^lj jjjl^A j■ jJ^J ^UA fljj ^A J jjjLiA ^A [8] Humayun, daughter of Geyser Humayun herself, named as Humayun.
2. Khwaju wrote the masnawi "Flower and Novruz" in 742/1341 in reply to the work "Khosrow and Shirin" by Nizami. The work tells about the love between the shahzadah of Novruz and the girl of
padishah of Greek. The masnawi was dedicated to Tajaddin Iraqi, the Kerman ruler. This work written in the measure hazaj consists of 5202 distiches. The masnawi "Flower and Novruz" was published firstly in 1350 AH in Teheran by Kamal Ayni.[10] And in 1370 it was published in the collection "Khamsa" by Seyid Niyaz Kermani.
3. The masnawi "Rovzatul-anvar". It is a work of phylosophical and dydactic content written in 743/1342 in reply to Nizami Ganjavi's "Treasure of Secrets".
4. "Kamalname" - was written in 744/1343 in the measure (hafif) identical to the rhythm of "Seven beauties" by Nizami and "Hadiqatul-haqayiq" by Sanai. The content of this work consisting of 20 chapters reflects the Sufi-moral worldview of the time.
The masnawi "Kamalname" by Khwaju was published firstly in 1370 in Iran by Seyid Niyaz Kermani in the collection "Khamsa".
5. "Govhername" - this work was written in the measure of "Khosrow and Shirin" of Nizami in 1345. It is dedicated to the Sufi-didactic theme.
Beginning from the 14th century, the original themes written by Khwaju Kermani under the influence of Nizami spread out quickly in the Eastern countries and became the highest model of art in the Turkish language literature. The themes created by Khwaju Kermani in his works "Humay and Humayun" and "Flower and Novruiz" were very original in the Turkish literature of Middle Ages. There are ancient history, sources, as well as mythical sources of these works related to the Turkic folklore and epic creativity. The mentioned masnawis are estimated amongst the exemplary themes in the Middle Ages literature:
Wherever this epic may be read,
Everyone becomes enamored to Humay and Humayun.
Where are mentioned Khurshid and Jamshid.
There Humay and Humayun are hopeless [1].
Khwaju Kermani has exerced serious influence on the Turkish poetry not only by his masnawi in the theme of love, but also works in the philosophical and didactic spirit. From this point of view, in the 14th story of the epic poem "Rovzatul-anvar", it would be interesting to research about the story on "Grace and generosity". The story composed in line with the didactic fragment is named as "The traveler who stands in front of a tomb of Hatim-Tai with caravan and asks him a meal; expression of Hatim's grace". Hereby let's be familiar with the content of a story: "The accident befell Hatem-Tai and he was just on the point of passing away. So he was losing all his power. He felt the fire of death on his face and all the water in his soul was gone. Like Joseph, his beautiful and radiant face fell from the heights to the ground. The soil of his body joined the winds and disappeared. His eyes returned to the anthill. His tomb became the mincing place for Gur.
A caravan came and reached Hatim's tomb like grass driven by the wind. There was a mystery among the people of the caravan who had their eyes opened in their hearts. His stomach was empty like a bubble (hungry), but there was no food on the table. His patience was exhausted (his patience went from the threshing floor to the wind), he laid his face on Hatim's grave and
opened his mouth and recited prayers: " O generous one who closes the open eyes of the passion! He who hits the ball of generosity on the head of the destiny! Your door is as famous as the gate of grace. We, two or three poor people, are your guests. Do not return these poor people empty-handed from the door of generosity! Be hospitable to the poor so that the happiness of strangers is revealed. Although we take care for everyone, the gift is from you. The table is ours, your blessings are yours." He longed so much, he begged... At that moment, a camel loaded from the caravan stopped breathing, trembled like the wind, fell to the ground and groaned. They quickly slaughtered the camel. The leader of the caravan gave fortune to several women and men from the same caravan. How many sheikhs in the caravan, how many young people were satisfied with the full table? Several people pointed to the tomb of Hatim Tai and said, "He entertained us to our camel", - said with reproach. In the morning the caravan of camels set out... The heat of the sun from the east was burning... Time passed, the air became dark and the heat burning their face passed away. Suddenly a cavalryman appeared, with a loaded camel beside him. The world was overshadowed by the height of this hero. The caravan leader said, "What is this?" Who is this brave man? The brave man worshiped with prayers. He said: "I am now the heir of Hatim Tai, the refuge of the travelers. Hatim-Tai, who was very generous, was anxious day and night, and yesterday evening he saved his travelers by borrowing a camel from a caravan of camels. Tonight he told me in a dream to go on a journey if he was not in pain. So apologize to the pilgrim and return the camel. "The brave prayed and left... Who is closer to Him (God) than the nobles in the two worlds? Existence and non-existence - everything that exists as Khwaju, belongs to Him alone. He planted the garden of existence with grace." (Translation of the text belongs to us-Z.A.).
4. Conclusion
The theme and plot of the story were similarly reworked in Azerbaijani literature by Mohammad Amani in the 16th century. The long-term development of humanist- philosophical ideas has led to the creation of a single system in poetry, the continuation of typological themes, plots and stylistic elements. Amani used the form of saqi-name (prologue) in the didactic part of the verse story, using this plot, preserving the content and idea of the story, he reworked it in the Turkish language in a unique original way.
References
1. Ahmedi Jamshid and Hurshid. Review text, Mejmet Akalin, (Ankara: Ataturk University Publications, 1975), 50.
2. Divan-e Hafez. Tashih-e Xalxali (Tehran: 1367), 70.
3. Divan-e gazaliyyat-e Xacu-ye Kermani, be ku§e§-e Hamid Mazhari (Tehran: 1374), 65, 168,169, 339, 415, 431,427.
4. Divan-e Mahsati Ganjavi. Be tashih o tah§iye: Taheri §ahab, gap-e sevvom,(Tehran:1347), 60.
5. Guliyev Bilgeys. Epic poems of Khwaju Ker-mani "Samname" and "Humay and Humayun" (Baku:
"Elm and Tehsil", 2010), 264.
6. Majma'ul-fusaha, vol. 1-4, Talif-e Rzaqulu han Hedayat (Tehran:1336-1340),339.
7. Mirali Seyidov. Qam-shaman and general view to its resources. (Baku: Ganjlik, 1994),48.
8. Nezami Ganjavi. Haft peykar. Matn-elm-e vo enteqadi Tahir Ahmed Maharramov (Mosku:1987), 140.
9. Xacu-ye Kermani. Homay o Homayun.
Tashih-e ehtemam: Kemal Ayni, moqeddeme: Parviz Natel Xanlari (Tehran:1348),255.
10. Xacu-ye Kermani. Qol o Novruz. Tashih-e ehtemam: Kemal Ayni (Tehran:1350), 288.
11. Xamse-ye Xacu-ye Kermani. Be tashih o moqaddeme Said Niyaz Kermani (Kerman:Dane§qah-e Odabiyyat-e olum-e ensani, 1370),20,215,480,530,584.
