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НОЗИЛИ ХУЦАНДИ ВА ИНКИШОФИ РУБОИИ ИРСОЛИ МАСАЛ ДАР АДАБИЁТИ АСРИ XIX
НОЗИЛ ХУДЖАНДИ И РАЗВИТИЕ РУБАИ С ИСПОЛЬЗОВАНИЕМ ПОСЛОВИЦ В ЛИТЕРАТУРЕ Х1Х ВЕКА
NOZIL KHUJANDI AND THE DEVELOPMENT OF IRSOLIMASAL RUBAIIN THE LITERATURE REFERRING TO THEXIX-TH CENTURY
^омидова Шамсия Мирзорустамовна,
докторант (PhD)-и кафедраи адабиёти классикии тоцики МДТ "ДДХ ба номи акад. Б.Гафуров" (Тоцикистон, Хуцанд)
Хомидова Шамсия Мирзорустамовна,
докторант (PhD) кафедры таджикской классической литературы ГОУ "ХГУ имени акад.Б.Гафурова"(Таджикистан, Худжанд)
Homidova Shamsiya Mirzorystamovna, doctoral student of the classical literature department under the SEI "KSU named after acad.B.Gafurov" (Tajikistan, Khujand) Е-mail: khomidova_shamsiya@mail.ru
Вожа^ои калиди: Нозили Хуцандй, инкишофи жанри рубой, адабиёти асри нуздау, рубоии ирсоли масал, уавзаи адабии Хуцанд, зарбулмасалу мацол, Субуон Амирцулов
Мацола ба тауцицу баррасии нацш ва мацоми Нозили Хуцандй дар инкишофи жанри рубоии маъруф ба ирсоли масал бахшида шудааст. Муаллиф бо мацсади нишон додани мавцеи рубой дар адабиёти асри нуздау нахуст ба сайри ицмолии ташаккули жанри рубой дар адабиёти форсу тоцик, нахустин рубоисароён ва амсоли ин пардохта, баъдан тибци маълумоти адабиётшиносони ин давра, аз цумла Субуон Амирцулов муцаррар кардааст, ки уарчанд дар адабиёти тоцикии Мовароуннаур дар асруои уафтдау ва уаждау муддате рубой мавцеи худро аз даст дод, аммо дар асри нуздау дубора ру ба тауаввул овард, ки сауми Нозили Хучандй ва дигар шоирони уавзаи Хуцанд дар ташаккули анвои он ва эцоди навовариуо хеле бузург аст.
Ключевые слова: творчество Нозила Худжанди, развитие жанра рубаи, таджикская литература Х1Х века, рубаи с использованием пословиц или поговорок (рубоии ирсоли масал), худжандский литературный круг, Субхон Амиркулов
Исследуется роль известного поэта конца ХУШ-начала Х1Х века Нозила Худжанди в расцвете жанра рубаи ирсоли масал - четверостиший с использованием пословиц или поговорок. Осуществлен краткий исторический экскурс в историю развития жанра четверостиший в таджикско-персидской поэзии, охарактеризованы первые поэты, в основном писавшие четверостишия. Подчеркивается, что в таджикской литературе ХУП-ХУШ веков рубаи как жанр теряет позиции, но в Х1Х веке наблюдается яркое возрождение рубаи. В эволюцию рубаи в рассматриваемом столетии большой вклад внесли Нозил Худжанди и другие представители худжандского литературного круга.
Key words: Nozil KhujandVs creativity, development of rubai genre, Tajik literature referring to the XlX-th century, rubai using proverbs or sayings, Khujand literary circle, Subkhon Amirkulov
The article dwells on the role of the famous poet who lived in the end of the XVIII-th and the beginning of the XIX-th centuries Nozil Khujandi in the prime of the rubai irsoli masal genre - rubais using proverbs or sayings. A short historical excursion into the history of the development of a genre of rubais in Tajik-Persian poetry is carried out the first poets who mainly wrote the relevant genre are characterized. It is emphasized that in the Tajik literature referring to the XVII-th - the XVIII-th centuries, the rubai as a genre is losing ground, but in the XIX-th century there is a bright revival of the rubai. Nozil Khujandi and other representatives of Khujand literary circle made a great contribution into the evolution of the rubais in the explored century upon the whole.
A genre of rubai (quatrain) is considered to be one of the most outstanding verses after ghazals and muhammas in the literature referring to the first half of the XIX-th century. It is important to keep in mind that the formation and development of the relevant genre in classical Persian-Tajik literature (the X-th - the XV-th centuries) was canvassed by a number of both domestic and foreign men-of-letters, such as A.K. Kozmoyan, Z. Zarifov, A. Abdusattorov, partly A. Aminov, Muhammad Komgor, Sirusi Shamiso, Shafei Kadkani and others; though it was studied in details, unfortunately, the further evolution of this kind of genre, in conformity with Subhon Amirkulov's opinion, is not considered in the post-classical literature (1, 18). Of course, this point of view of the eminent Tajik man-of-letters can
be welcomed as the mentioned genre provision in the centuries under consideration was not adequately explored.
In several literary productions of classical literary criticism and the following earlier dictionaries, such as "al-Mujam", "Burhani Qote", "Farhangi Rashidi", "Ghiyas-ul-Lughat" and others the word "rubai" is interpreted as a synonym of tarona, surud and naghma and its lexical meaning is explained as "javoni khushsurat", "taru toza", "sohibjamol" (7, 68). Summarizing all the following scholars and men-of-letters' opinions, such as Unsuralmaoli Kaikovus, Shamsi Kaisi Rozi, Dehkhudo, Khonlari et alia, Muhammad Komgorii Porsi came to the following conclusion: "Tarona (rubai) has a long and ancient history and its background and originality trace back to the Avasto "taurana" that means "fresh and young". Later on the relevant word acquires a number of figurative meanings including a handsome young man, handsome, an owner of beauty, classification of three corners, dubaity (a type of quatrains), song, melody, and so on". In reference to it Muhammad Komgor laid an emphasis upon the idea that "a rubai like a dubaity is the beginning of a qasida or ghazal and possesses four misras, and the first, the second and the fourth misra must have rhyme, but the third one is not necessary. The song is probably a kind of poem referring to the Sassanid period and it belongs to a group of people lower than the song and chakomak (Aryans) and its well-known size being ("Lohavla valo quwwati illo billah") (7, 67-68). In association with the history of the relevant genre, background and name, Sirusi Shamiso also commented and asserted that "rubai was known as a byte, dubaity and a song in the past" (19, 17).
It is worth stating that a large considerable number of scholars - here refer Muhammad Taqi Bahor being the author of "The History of Sistan", P.N. Khanlari, Kh. Mirzozoda and others who expressed their own opinions beset with the lexical and terminological meaning and the history of the former's origin. In this regard, Muhammad Komgor endorsed the expressed idea and he supported Khonlari's opinion who asserted that the origin of rubai was historically very old and did not attribute its invention to anyone, but it was considered the property of the Persian-speaking people"(7, 73). Kh. Mirzozoda also expressed his own views on the issue in question and considered that " such kind of verse had been sung up to Rudaki, Shaqiqi Balkhi, Hanzalai Bodghisi, Mahmud Warroq, Abuyazidi Bastomi and others" (10, 185).
Designing on the premise of the above-expressed ideas and reading the book referred as "The Poetry by Rudaki's Contemporaries", it becomes clear that among the poets of Rudaki's lifetime, including Hanzalai Bodgisi (only one rubai), Muhammad Warroq (only one rubai) have been remained totally (20, p.20-21).
In conformity with Muhammad Komgor's opinion "there is another proof that the antiquity of such kind of poem is a testimony of Sone'i Balkhi's rubai, or Rudaki's songs, those ones were written at the end of the III-ird or the beginning of the IV-th century, they were all beautiful and mature, even though everything was beautiful and the new one was not so beautiful at first" (7, 73); the utterance also reinforcing the above-mentioned ideas.
At the same time, the conducted research concerned with the relevant topic reveals that among the poetry of Rudaki's contemporaries, such kind of poetry is occurred in the works of Shahidi Balkhi (two instances), Abulmuayyad Balkhi (one instance), Abushakuri Balkhi (one instance), Abulaloi Shushtari (one instance), Daqiqi (two instances), Tohir ibn Fazli Chaghi (three instances), Sarakhsi (one instance), Munjik Tirmidhi (one instance), Abulqasim Bushri Yosin (one instance), Abulabbos Qassob (one instance), Muntasir Somoni (two instances) totally. Indeed, all of them are beautiful, elegant and mature entirely. The considered assumption reiterates the ancient history of the rubai genre.
Although the founder of the rubai genre is considered to be Rudaki or some poets who lived before him, but the development of such kind of literary device in the field of classical Tajik literature is attributed to Khayyam who is known as "a master of rubai", being called a famous rubai singing poet. At the same time, his rhyming style was welcomed by many followers, and this tradition has been continuing up today, and its best patterns can be found in the series called "Jomi Khayyam" by Loiq Sherali.
Conducting an analysis beset with the literary productions belonging to the pen of writers who lived in the XVIII-th and the XIX-th centuries we see that the evolution of rubai in the literature under study is based on the spread of the literary tenet entitled "payravgari" towards rubai the following traditions referring to the XV-th and the XVI-th centuries.
Proceeding from the research conducted one can come to the conclusion that the XVI-th century was considered to be the period of evolution of the relevant genre, as the poets who wrote and created in the mentioned period were famous for rubai-singing, and even took their poetic nickname, from the
name of such kind of literary genre. In this regard, Sommirzoi Safavi writes that "Sheikh Rubai is a mashhadist and a poor and isolated man, and from the very beginning of his poetry he was inclined to rubaiyat, thus, he was called Sheikh Rubai (14,132). According to Mutribi, U. Karimov described such poets as Vajehi Akhsikati, Hakim Ruknoi Koshi, and Azizi Samarkandi as the ones whose "speeches were mostly rubai" (5, 186).
The main factor aimed at the development of the genre referring to the XVI-th century depended primarily on the emergence of the tenet of realism, because, in conformity with Abulghani Mirzoev's opinion, the method of wuqu' expanded the scope of rubai illustration in both literary and cultural life. Into the bargain, its content includes concrete statements appertaining to social realities reflecting the truth of life. Some of its peculiarities can be seen in rubais genuine mentioned in the book entitled "Khamsat-ul-Mutahhayirin" (8, 233-238).
In accordance with S. Amirkulov's emphasis, during the relevant period "rubais were created being based on the style of urban sprawl", the sequence is cited from the creation called "Nomai nomi" by Khondamir (published in 1519) testifying to the fact that "before the beginning of the letters the titles of 160 rubais" (1, 19). At the same time, under the angle of Professor M. Mirzoyunus, it became clear that during the period explored an urban sprawl rubai was popular: "If we pay attention to the genre peculiarities of such kind of rubai, we will find out that the poets who sang this kind of rubai based on various styles of rubai, kyta, mukhammas and mesnavi and so on.
As far as Mas'ud Sa'di Salman united all his shahroshubs in the genre of kyta and Mahasti - in the rubai genre, Saido introduced all his shahroshubs in Persian-Tajik literature "(11, 34).
Another reason accounting for the development of the rubai genre is considered to be the propaganda of political, social, religious issues and satire as well.
In the literature of the XVI-th century there was a tradition of nazirasaroi - poetic response in the section of rubai-singing. Designing on the premise of the information of "Tazkirat-ush-shuaro" by Mutribi, A.Mirzoev while considering such kind of poetic response done by four leading poets of the XVI century - they were Muhtashami Koshi, Valii Dashtibayozi, Notikii Sabzavori and Mullo Khirgohii Hissar - came to the conclusion that the purpose of singing these rubai was "to test the strength of each other's poetry" (9, 46).
Thus, rubai developed extensively in the literature of the XVI-th century, but for various reasons remained relatively unchanged in the literature of the XVII-th and the XVIII-th centuries in Movarounnahr, however, "in the literature referring to the XlX-th century it was revived and further evolved with its own characteristics" (2, 44-50).
The influence of rubai genre upon the literature referring to the XVII-th and the XVIII-th centuries is reflected in the leading poets' creations who lived in the first half of the XIX-th century. For instance, according to Vozeh's assumption, the author adduces information concerned with Khazoni's (Khizoni's) high creative skills and gives a few rubais out of his work (3, 95).
Of course, as it's mentioned above, our main reference is aimed at the rubai in the Persian literature of Farorud in which the literary circle of Khujand and the poets who were born in this land form a part of the literary circle of Movarounnahr. Otherwise, in the Persian-written literature referring to the XVI-th and the XVII-th centuries, a rubai had a significant influence, and its most prominent patterns are noticed in Tolib Omuli's and Bedili Dehlawi's poetry whose number of rubai exceeds 1000.
It should be noted that the usage of rubai in the creations of the poets who lived in the XIX-th century of Movarounnahr differs both in quantity and literary aspects depending on the poets' taste, nature and literary trend which they pursued. The presence of more than 59 rubais in Mirzo Sodiq's poetry, 115 rubais in Hajri's collection of compositions, 228 rubais in Noseh's divan, 272 rubais in Nozil's collection of compositions and more than 500 rubais in Ado's extant sequences is a testimony of possessing a worthy status among such kind of genre in the period under study (1, 21).
Nozili Khujandi is considered to be one of the most famous rubai-singers of the relevant period "Devoni ruboiyoti zarbulmasal" directly belonging to his pen contains 300 rubais [21, p. 59]. However, according to Usmon Karimov's observation, 272 rubais (544 bytes) were included in Nozil's collection of compositions among which 180 rubais (360 bytes) were written in Tajik and the rest of them in Uzbek. Although Usmon Karimov believes that out of 18 rubais of Nozil's 272 rubais were created under the title of Tirozi (6, 21), Subhon Amirkulov refused this idea having written like this: "He resorted to mentioning in the verses the word "tiroze" which belonged to Nozil Tirozi's second namesake, and he asserted that this was named after Nozil's rubais, while in terms of logics and proportions of the proverbs and sayings quoted in the fourth verse obviously seem to be Nozil's creative production. Therefore, the word "tirozi" does not refer to Nozil's pseudonym, because it has nothing to do with fiction or pseudonym ascribed to the poets who lived in the first half of the XIX-th
century. In reference to it, the usual interpretation of "Khush guft tirozi in sukhanro bishnav" in the third verse of these rubais is not to be linked with Tirozi's speech, but with the first part of this phrase -"khush guft" by what he intended to express welcoming to the previous poets and the second part runs as "tiroze in sukhanro bishnav" refers to the poet's admiration for the eloquence of great words and folk proverbs, and urges the reader to "zebu perostagii in sukhanro nigar!". In other words, the word "tiroz" is used here in the traditional sense of reiterated adornment" (1, 27).
Although Ustod Amirkulov's assumption is acceptable, however, it can be assumed that the poet resorted to the tirozi expression as a native person of this city which he called as Tirozi Jahon. That's why, in this sense, it is acceptable for understanding the subject of the poet.
Particular attention is paid to form, content and style of these rubais that the poet in this series of the latters managed to convey social-moral ideas adducing the great people's words and folk proverbs as well. The relevant way of expression proves that leading poets are free to express their thoughts and ideas that reflects the revival of literary and ancient traditions in the century in question.
The evolution of rubai genre can be traced back to Nozil's creations as he divided his rubais into groups according to their nature and an object of influence and designated them as "written for a prisoner figuratively", "written for personal gain", for profit" and "written for a beloved person" and so on. Additionally, he clearly outlined various belles-lettres styles on the whole. For example, rubaiyats are created "by complaint", "by token", "by incident" and they are similar to shahroshub rubaiyats (1, 22).
By address:
Af oli badam agarchi zisht ast maro, Choro chi kunam, ki sarnavisht ast maro. Dar "qolu balo", ki har chi paymon shudaast, Woqif na, ki duzakhu bihisht ast maro (6, 109).
Here, in the fourth verse, there is a reference to the Koranic tenet, which states like this: "Pesh az ofaridani Zamin Khudovand ruhi hamai odamon (-i guzashta, imruza wa oyanda)-ro, ofarida, onhoro dar nazdi Khud jam' kard wa az onho pursid:
-A lastu bi Rabbikum? (Am I not your Lord?)
Kolo Balo. (Yes, You are our Lord!) said the spirits". Namely, it is a confirmation of the covenant that God took from His servants on the day of creation of Koranic parables which are also a source of grace in general. Seemingly, it is clear that alongside with referring to well-known proverbs and sayings of folk culture, Nozili Khujandi benefited from the Koranic parables and resorted to them in his poetry as well.
At the same time, it can be noticed that there is an excerpt from Khayyam's rubai and its spiritual closeness runs as follows:
Yo Rab, tu gilam sirishtai man chi kunam? Pashmu qasabam tu rishtai man chi kunam? Har neku bade, ki az man oyad ba wujud, Tu bar sari man navishtai man chi kunam? (17, 66)
Another peculiarity of Nozil's rubais is an abundant presence of proverbs and sayings. According to U. Karimov, there are 88 rubais based on Tajik-Uzbek parables and folk proverbs in Nozil's collection of compositions (6, 21). However, S.Amirkulov considers Nozil's rubai basing on the above form to be 69 in terms of quantity (2, 48).
Clearly, there is an attempt to convey the main idea in the fourth verse through proverbs and sayings in Nozil's pubais. In conformity with U. Karimov's opinion, "in the fourth verse out of 39% 88 rubais or 36% out of 272 rubais totally. The poet wrote his rubais with proverbs and sayings, and in this way he wants to bring to the notice of the reader the lines sounding as: Yak nomi naku zi sad hazor olam beh, Az jumla shahon Birohimi Adham beh. Khush guft, tirozi in sukhanro bishnav: "K-ovozai Rustam buvad az Rustam beh" (6, 76).
Bisyorkhuri zi ishtiho ma lum ast, Dar bandage az khavfu rijo ma lum ast. Khush guft, tirozi in sukhanro bishnav: "Gusola agar nek, zip o ma lum ast".
A well-known form of the relevant proverb among the people is "Gusolai shudani az poyash malum", which means that the future of each young man is determined by his actions and efforts.
Another form of this proverb is: "Sole, ki nakust az bahorash paydost" In order to define the size of the poem it was adduced being based on the above verse. Another example:
Aybi khud bin ukase aybash makun, Z-in nakutar nest dar olam funun. Buzrukon guftand: "ablah on buvad, Aybi khudro mekunad darbehi kun" (6, 76).
Nozili Khujandi used the well-known proverb referred as "az payi ayb kal kulah juyad" in the above rubai in a different form, which literally means: "Everyone is looking for the ways to cover up his guilt. Another variant of the relevant proverb can be seen in Abulmajd Sanoi's rubai: On nakutarm, ki andar in me roj, Dast bar sar kuni, nayobi toj. K-az payi ghayb mard rah puyad, W-"azpayi ayb kal kulah juyad" (15, 34) Another example from Nozil's rubais:
Ba tavri khesh jahone zi khayli mardon ast, Ba yak siteza nigar kuhu dasht yakson ast. Ghanimatash shumar imruz, dam mazan az fardo, Nigar: "davidanigusola to ba kahdon ast" (6, 115)
In the dictionary entitled "Tajik-Persian Proverbs, Sayings and Aphorisms" this proverb is interpreted as "striving to achieve a personal goal, making an endeavour to accomplish one's work, the flight of the sparrow to the roof" (15, 314). Another example:
Doram havasi on, ki param be paru bol,
Dar jannati kui dilbari hurmisol.
Lekin falak in boli umedam shikanad,
Man dar chi khayolamu falak dar chi khayol (6, 113).
In the dictionary under consideration the relevant proverb is interpreted as follows: "Contrary to one's wishes, an unfortunate event or an inappropriate answer to a question asked" (16, 241).
As we have seen, in the fourth misra of these rubai there is a proverb that shows its harmony with the spirit of the people. The majority of such kind of proverbs are still resorted to in various forms. For example, the first proverb ("Ovozai Rustam - beh az Rustam") exists in six versions; the second proverb ("Gusolai shudani az poyash malum") - in ten variants, and the third proverb (" Aybi khudash pasi pushtu aubi digaron peshi ru") is mentioned in seven variants in the Tajik folklore reserve (6, 77).
In Nozil's poetry we also can face with a number of rubais, those ones are very similar to the kind of rubai referred as irsol-ul-masal. The difference is that the third verse of each rubai is repeated by means of recitation, and in the fourth one the first idea is explained in eloquent words or proverbs: Otash ba day az sad guli ahmar khushtar, Har yak shararash zi khirmani zar khushtar. Khush guft tirozi in sukhanro bishnav, "Khayrash nabuvad, sag az tavongar khushtar (6. 75).
Apparently, this rubai seems to have its source in the following one that is traced back to the national folk version as follows:
Otash ba zimiston zi guli sarvi beh,, Yak porcha namad zi atlasi rumi beh. Harchand naguft Ahmadu Mahmudi Nabi, Az khojai behimmat zani luli beh (6, 75).
Although Nozil's poetry originates from the folk rubai, he modified his poem having included another form of the proverb under the title of "Az khojai behimmat zani luli beh" which is more popular in such version as "Sag az tavongari bekhayr khushtar".
Another example:
On gavhari noyob, ki nomash pisar ast, Medon, ba yaqin tobei tab^Ipadar ast. Khush guft tirozi in sukhanro bishnav: "Az rubohi moda kay ravo sheri nar ast".
The meaning of this proverb is as follows: "Cowardly and weak people cannot be brave". Another example of this parable is used by Ubaidi Zakani:
Makun bo chashmi sarmastam daleri,, Ki "az rubah nayoyad shergiri" (15, 90). The majority of Nozil's rubais preserved the best peculiarities of classical ones. From the above example it can be seen that Nozil's narrations are very close to the national spirit.
Nozil's rhymes are sung not only on the subject of morality, but on those ones of love and other social issues either. S. Amirkulov who had access to Nozil's divan considers the rubai series that reflects the above-mentioned issues being followed under the title of "For the Beloved Person": Kham noshudani sarvi ravonat digar ast, Man qumrii boghi tu, makonat digar ast. Guftam, ki biyo, naomadi bo dili man, Fahmidam az in sukhan, gumonat digar ast (2, 49). Thus, rubai is considered to be one of the most popular genres in the literature of the relevant period and occupies a prominent place in the literary productions of the poets who lived in the XIX-th century. Proceeding from a consideration beset with this literary genre evolution one can assert that although the Tajik literature of Movarounnahr remained undeveloped in certain periods and the best traditions of ancient literature were revived in this century, a number of poets and men-of-letters made a great contribution into the development of different kinds of the genres discussed as well. In is worth mentioning that its significant pattern is the parable in Nozili Khujandi's creations. The influence of romantic, philosophical, and social contexts diversified the content of rubai and promoted a thematic evolution of this type of literature in the XX-th century, upon the whole.
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