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16"Oriental Art and Culture" Scientific-Methodical Journal - Volume 2 Issue 2 / September 2021 ISSN 2181-063X
MUG'ANNIYLAR ALISHER NAVOIYNING SHE'RIY TA'RIFIDA
Nozimaxon Mirzayeva nozimaxonmirzayeva0804@gmail.com O'zbekiston Fanlar Akademiyasi Alisher Navoiy nomidagi davlat adabiyot
muzeyi
Annotatsiya: Ushbu maqolada Alisher Navoiyning ilmiy-adabiy merosi, "Xazoyin ul-maoniy" kulliyotidagi to'rt devonidan olingan g'azallarida mug'anniynomaga oid qarashlari keltirilgan. Shu bilan birga, shoir ijodida san'at ahliga, uning inson hayotidagi ahamiyatiga e'tibor qaratilgan.
Kalit so'zlari: devon, mug'anniy, soqiy, murshid, murid, qo'buz, rud, ud.
MUGANNIYS IN THE POETRY OF ALISHER NAVAI
Nozimaxon Mirzayeva nozimaxonmirzayeva0804@gmail.com Alisher Navoi State Museum of Literature of the Academy of Sciences of
Uzbekistan
Abstract: This article presents Alisher Navoi's scientific and literary heritage, his views on muganni in his ghazals from the four divans of the Khazayn ul-Maoniy College. At the same time, the poet's work focuses on the people of art and their importance in human life.
Keywords: devon, muganniy, saqi, murshid, murid, kobuz, rud, ud.
Nizomiddin Mir Alisher Navoiy nomi qaysi jabhadan qaralsa ham, tariximizda mo'tabarlik va buyuklik bilan jarang topadi. Xususan, uning XV asr ikkinchi yarmi temuriylar tarixi va davlatchilik boshqaruvidagi o'rni roli muayyan ravishda muhim ahamiyatga ega. Navoiyning o'z davridagi faol siyosiy faoliyati bilan birga ko'plab bunyodkorlik ishlari, fan, madaniyat, san'at va adabiyot yuzasidan homiyligi ilmiy adabiyotda munosib bahosini olgan1. Hazrat Navoiyning adabiyot, san'at, madaniyat rivoji uchun qilgan hizmatlari o'z davrida va bugungi kunga qadar ulug'lanib, o'rganilib kelinmoqda.
Musiqa san'ati inson ruhiyatiga ko'tarinkilik, huzur bag'ishlash bilan bir qatorda, ma'naviy ozuqa berishi bilan ham boshqa san'at turlaridan ajralib turadi. Tarixdan ma'lumki, ilmu ma'rifatda dong taratgan allomalarimiz diniy va dunyoviy
1 O.Jo'raboyev, Navoiy va tarix, Toshkent, "Tamaddun", 2016, 3-bet.
LM^^SI 49
ilmlar qatorida musiqa ilmini ham batafsil o'rganib, uni chuqur egallashgan. Abu Nasr Farobiy, Abdulqodir Marog'iy, Abduraxmon Jomiy, Alisher Navoiy va yana ko'plab jahonga mashhur mutafakkirlar musiqa cholg'usi chalishni bilganlar va bu hususida ilmiy nazariy risolalar yozishgan. Bundan ko'rinib turibdiki, musiqa ilmini egallash o'ziga xos kategoriya bo'lib, o'rta asr olimlarining komillikka erishishida muhim omil bo'lib xizmat qilgan.
Xususan, Alisher Navoiyning musiqa va musiqa san'ati bilan bog'liq qarashlari uning "Xamsa", "Xazoyin ul-maoniy", "Majolis un-nafois" va "Mahbub ul-qulub" kabi asarlarida aks etgan. Navoiy faoliyati davomida musiqadan uzoq bo'lmagan. Doimo badiiy va ilmiy asarlar yaratish, davlat boshqaruvi, bunyodkorlik ishlarini amalga oshirish bilan birga musiqa san'atidan chetda qolmagan.
Alisher Navoiy ijodida musiqa muhim o'rin egallagani musiqashunos olimlar tomonidan ham e'tirof etilgan. "Alisher Navoiyning musiqa sohasidagi faoliyati hali yetarli o'rganilmagan, - deb yozgan musiqashunos olim Ishoq Rajabov o'zining "Maqomlar" monografiyasida, - bu borada atroflicha ilmiy tadqiqotlar olib borilishi lozim" 2
Shoirning "Xazoyinu-l-maoniy" majmuasi tarkibidagi devonlarida bir-biriga o'xshamagan va takrorlanmaydigan musiqiy jihatlarini anglash mumkin. Masalan "Favoid ul-kibar"da keltirilgan quyidagi baytida mug'anniyni, ya'ni xonandani oydek go'zal (mahvash) yorga qiyosan soqiy (pir, murshid) yanlig' tonggi may bilan bahramand etishini istamoqda. Agar u shunday iltifot ko'rsatsa edi, tong yulduzi (Zuhro) yanada yorqinroq, yanada serjilo bo'lgan bo'lur edi:
Tongyo 'q ul mahvash mug 'anniy tutsa jomi may sabuh,
Ne uchunkim Zuhradur toli ', bo 'lur axtar saboh.
Bu bilan inson uchun yoqimli kuy, sehrli navoning o'rni beqiyos ekanligi, uning oshiq qalbigi qanchalar taskin bera olishi mumkinligi go'zal satrlarda ko'rsatib o'tilgan.
Keyingi satrlar ham ahamiyatli bo'lib, unda ham mug'anniyning inson hayotidagi ahamiyati yuksak baholangan. Masalan, oshiq (muallif - Navoiy) hajrdan o'lim oldida turibdi. Unga faqat soqiy quygan may va mug'anniy chalgan kuy orom bag'ishlashi, uni hayotga qaytarishi mumkinligi keltirilgan:
Hajrdin o 'ldi Navoiy, soqiyo, tut jomi may,
Ey mug'anniy, sen navo ohangida qo 'psa qubuz.
Oshiq (Navoiy) shu qadar fig'onlar chekadiki, bu fig'on oldida sozanda-yu xonandalarning kuy va qo'shiqlari arzimas sado bo'lib qoladi:
Mug'anniy, Navoiyfig'onin eshit,
Ki, sozing aro zer ila bamda yo 'q.
! Rajabov I. Maqomlar. - Toshkent.: 2006y -B.27
Fig'on va kuy hamohang qo'yilishidan murod har ikkisining dilga orom beruvchi xususiyati mavjuddir. Kuy va qo'shiqlarni eshitganda qalb taskin topsa, fig'on yor dardi ila chekilgan shirin azobdir. Yorning dardi ila yashamoqlik ham bir saodatdir.
"G'aroyib us-sig'ar" devonidagi quyidagi baytni oladigan bo'lsak, birinchi misrada uchrovchi bazm ahli kim? Ular oshiq ahli (haqiqiy ishq ahli - Allohga oshiqlar) bo'lib, bazmda o'z oshiqliklarini namoyon etishadi. Va ularning qalbiga mug'anniyning sadolari jon baxshida etmoqda. Agar shunday bo'lar ekan, (oshiq) Navoiy jon iplarini mug'anniy chang(soz)ining torlariga baxsh etadi. Chunki uning joni behuda ketmadi, oshiqlar uchun xizmat qildi:
Mug'anniy nag'masi jon bersa bazm ahlig'a tongyo 'qkim,
Navoiy rishtayi jonin eshib changiga tor etmish.
Bu misralar orqali muallifning oshiq ahliga bo'lgan muhabbati, ularga sadoqatini ko'rish mumkin. Shu bilan birga, kamtarlik motivlari ham sezilib turadi. Chunki u (muallif) o'zini hali beri oshiq ahli qatorida sanamaydi. Oshiq ahliga xizmat qilayotgan murid sifatida biladi.
Chu majnun qilding emdi, ey mug'anniy, go 'shatobingni,
Ko 'ngul savdosi taskini uchun bo 'ynumg 'a tumor et.
Bu yerda shoir, ey mug'anniy, devona qilding endi ko'ngil taskin topishi uchun go'shatobingni (cholg'uyingning quloqlarini) bo'ynimga tumor qil. Telba bo'lganimdan butun dardlarim yangilandi. Ichimga qon to'ldi, deb o'z ahvolini tasvirlaydi.3 Navoiy mazkur misralarida (oshiq) ko'ngilning dardlaridan xalos bo'lishni mug'anniyning yoqimli kuyidan taskin topishini aytmoqda.
Sanga kavsar suyiyu lahni Dovudiyki, dayr ichra,
Mug'anniy nag'masi birla mangajomi mug'oniy bas.
Shoir mug'anniydan bu davrada Dovudiy kuyini chalginki, bu ohang bilan mayxona ahliga ichayotgan mayi xuddi xushbo'y jannat suvidek joniga oro berishini aytmoqda. Mayni ichayotgan kishi ichimlikdan emas, balki ohangrabo kuydan mast bo'lishini bildirmoqda. Chunki har qanday maharot bilan ijro etilgan kuy insonga ruhiy tetiklik, ko'ngil taskinligini beradi.
"Badoe' ul-vasat" dagi mug'anniynomalariga to'xtalsak, ushbu misrada Navoiy mug'anniyga murojaat qilib, ey sozandalar, muallif (oshiq) yorning visoli ishqida sarmast, shirin uyquda ekanligi, uni uyg'onishi oson bo'lmay, buning uchun esa go'zal bir navo chalinishi shoirni yana ezgu amallarni qilishga undashi lozimligini ta' kidlamoqda.
Ey mug'anniylar, Navoiy mast edi - kech uyg'onur,
Ani uyg 'otmoqqa bir dilkash tarannum aylangiz.
3 L. Jo'raeva. Alisher Navoiy mug'anniynomalari - Toshkent: Mumtoz so'z 2011. 20-bet.
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Ushbu baytda she'riy misrada oshiq yuraklarga ohangrabo navolar taskin berishi keltirilgan. Insonning bevosita ruhiy holatiga bog'liq bo'lgan hissiyotlari, tuyg'ulari va kayfiyatini ifodalovchi kuy - qo'shiqlar eng nozik, ichki torlarini ham tebrata oladigan kuchga egadir. Mug'anniy har doim ham mungli, g'amgin kuylar chaluvchi emas, balki yoqimli navolarni shoirning ruhiyat olamiga mos holda ijro etadi.
Ey qalandarvash mug 'anniy, gar Navoiy ko 'nglini
Istasang har lahza behol aylamak, tuzgil qo 'buz.
Navbatdagi misrada ham Navoiy mening ko'nglimga yo'l topmoqchi bo'lsang, har vaqt uni holsiz qilish uchun qo'buz chalgin. Keltiralayotgan ushbu devonlardaga g'azallarda ko'plab musiqiy cholg'ular qalamga olingan. "Qo'buz" so'zi - bu yerda kamon bilan chalinadigan musiqa asbobi. Qo'buzga Alisher Navoiy asarlarida, jumladan "Mahbubul qulub"da "qo'buz quloq tutib ayshg'a targ'ib ohangni tuzg'ay" deb ta'rif beradi. Ya'ni rubobning ovoziga (sababi cholg'ular haqidagi parchadan qo'buzdan oldin rubobga berilgan ta'rif o'rin olgan) quloq tutib, aysh-ishratga, ma'joziy ma'noda toat-ibodatga undovchi ohangni tuzadi.4 Ushbu misrada shoir Navoiy sozandaga qo'buz sozi orqali chalingan yoqimli navo har qanday mahzun ko'ngilga xush yoqishi, qalbga malham bo'lishi mumkinligini aytmoqda.
Quyidagi baytda ham Alisher Navoiy lirik qahramonning dardli holatini keltirgan bo'lib, mug'anniyga murojaat qilib, sen bir mungli navo tuzginki, shu navo bilan dardli qo'shiq ayt. G'amgin kuying bilan xasrat to'la ko'nglimga yashirin sir olib kirgin. Sen mening yuragimdagi sirimni bilasan, shu bazm aro Navoiyni chalgan kuying azobda kuydiradi. Sen dardlarimlarimni bilib shunga mos kuylamoqdasan.
Ey mug'anniy, chun nihon rozim bilursen - soz tuz,
Tortibon munglug' navo sozing bila, ovoz tuz
Bazm aro o'rtar Navoiyni nihon munglug' surud,
Ey mug'anniy, chun nihon rozim bilursen - soz tuz.
Ushbu g'azalda shoirning mug'anniyga iltijosi, ya'ni sir-asrori hamda darddoshi ekanligini aytib o'tgan.
Keyingi "Navodir-sh-shabob"dagi mazkur baytda oshiq bazm vaqtini yaxshi turmushini esa tiniq suvdek sokin bo'lishini istab mug'anniyga "rud"- cholg'u asbobidan kuy chalishini, soqiydan esa may quyishini so'raydi. Oshiq nazdida musiqa va may ko'ngilga xuzur bag'ishlaydi.
Dame bazmim tuzuk, ayshim zulolin istaram sofiy,
Mug 'anniy sen dag 'i tuz rudu soqiy, sen dag 'i may suz.
"Navodir-sh-shabob" devonidagi quyidagi baytda esa Navoiy mug'anniyga murojaat etib, mayga "ud" orqali kuy bag'ishlaginki, qalbidagi ishqni bayon etsin.
Mayg 'a ohang et, Navoiykim, mug 'anniy har zamon
4 4 L. Jo'raeva. Alisher Navoiy mug'anniynomalari - Toshkent: Mumtoz so'z 2011. 33-bet.
LMÜ^H 52
Aysh tahrisin ayon aylar lisoni ud ila.
Xulosa o'rnida shuni aytishimiz mumkinki, hazrat Navoiyning o'zbek adabiyoti, xususan, g'azaliyoti rivoji hamda o'zbek g'azalining yangi-yangi fazilatlar bilan boyishi va yuqori cho'qqiga ko'tarilishida xizmatlari beqiyosdir. Adabiyotning ijtimoiy vazifasi va hayotdagi ta'sirini juda keng tushungan ulug' shoir asarlarida lirik qahramonning ruhiy kechinmasi, kayfiyatini bayon etish va yoritishda musiqadan najod umid qilib, mug'anniyga murojaat etishi mug'anniynomalarning asosiy mezonini tashkil qiladi. Navoiy g'azallarida mumtoz adabiyotda mavjud soqiynoma va mug'anniynomalarning har biri o'z o'rni, ma'nolar tizimi, talqin mezonlariga ega hamda ularda asosan musiqa ilmi bilan bog'liq masalalar ifodalanganligi bilan ajralib turadi.
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