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13PHILOLOGICAL SCIENCES
RELIGIOUS-PHILOSOPHICAL IDEAS AND LANGUAGE ISSUES IN NASIMI'S WORKS
Alizadeh Aliya Umran Aliaga
Baku Slavic University
Department of the Azerbaijani language and teaching methods, lecturer
Abstract
The article examines the creativity of well-known Azerbaijan poet Nasimi. Author explores features of Na-simi's language, religious-philosophical ideas, compares them with phrases from Quran. Nasimi is considered the creator of the Azerbaijani divan, in addition, he created divan in Persian (about 5 thousand lines); a number of poems by Nasimi were written in Arabic. Nasimi created the first masterpieces of Azerbaijani poetry, laying the foundations of the Azerbaijani literary language.
Keywords: literary language, religious-philosophical ideas, creativity, poem.
Literary language develops on the basis of the art language for the first time. The richness and diversity of the literary language is reflected in the art language in a broader and more polished way. In the XI-XVIII centuries, classical Azerbaijani poets wrote their works mainly in two languages - Persian and Azerbaijani, and during this period they also wrote poems in Arabic.
Although artists such as Khatib Tabrizi, Mansuz Tabrizi, Suhrawardi, Eyn-al Guzat, Mujiraddin Beylagani, Khagani, Nasimi, Fuzuli created rich and unique examples of classical poetry in Arabic, Arabic poetry has never taken a leading position in the history of development of Azerbaijani poetry after the XI century. For this period, Persian was known as the only language of poetry, over time it gave way to the Azerbaijani language, and later moved to the second place. On the contrary, the Azerbaijani language was not considered acceptable for the language of poetry. However, over time, it proved its existence, beauty and poetic power, surpassed Persian as the main language of Azerbaijani poetry and gained the right to express the poetic thought of classics such as Nasimi and Fuzuli.
However, due to the connection of this poem to the national background, it had many national features in terms of Azerbaijaniness, and even the language of this poem belonged to the Azerbaijani way of thinking and had features that sounded like Azerbaijani expressions. For this reason, it played a major role in the development of both Persian poetry and literary language, as well as Azerbaijani poetry, and even in the development of Azerbaijani language poetry, and was formed on these foundations.
The art world of the great Azerbaijani poet of the 14th century Nasimi is a magical temple created from the unity of deep understanding like the ocean and wide imagination like the sky. When you face this world of art, you feel as if you are on the threshold of a sacred temple, and these feelings are reflected in the great Hungarian poet Shandor Petefin's description of Nasimi's world of art: "In this holy temple, you can only take your feet out and enter it barefoot and on your toes ..."
In the history of the Azerbaijani literary language, researchers present the Nasimi language as a great reformer.
A detailed acquaintance with the poet's poems and reading each of his poems with linguistic sensitivity leads to the conclusion that Imadeddin Nasimi, the first great figure on the threshold of our native language literature, boldly embraced Persian, the language of art known as both religion and science. He gave preference to the Azerbaijani language and, along with his poetic activity, carried out linguistic activity.
In addition to being a reformer, Nasimi was a unique person who defined the norms and principles of our literary language, and even the prospects for future development, and implemented them in the language of works of art.
During Nasimi's lifetime, the representatives of the literary world, due to the diversification of Sufi sects, created some contradictory ideas and translated some words related to secular concepts into slang terms, and as a result, in classical poetry etc. words were understood in different senses by being painted in Sufi color.
Compared to Sufism, Nasimi's sect of hurufism had a progressive content. With the revival of literacy in the nervous process began the flow of literal terms, new religious and philosophical ideas into poetry.
Expressing abstraction in his poems, the mystical Sufi, who did not follow the literal poets, glorified Nasimi and his beauties with the language of his pen, and made man the main subject of fiction by reflecting his fate, material and spiritual life, and struggle.
Interestingly, according to Nasimi, who understood the natural resemblance of the Arabic letters to the features of the human face and expressed them in a meaningful way, literacy was the most suitable literary and philosophical method and means.
Consider, for example, his masterful use of the spelling and appearance of Arabic letters to mark the medieval world.
Osli danidir dunyanin, zatinda yoxdur bir alif,
Tarkibina gal bax anin, §ol yavu nunu dalina.
In this verse, the alif is symbolically both literally and figuratively. In other words, it is a sign that a person's stature is straight and his character is correct. The word "Dani" is of Arabic origin and means low, mean (man). In these verses, the poet wanted to say that there is no straight man (alif) in the world in which he lives - the essence of the world in which he lives - the
low world - does not exist in essence.
In his poem, which begins with the verb "listen" and intersects at least two scientific directions, the poet speaks and judges about the word at the same time as a philologist and philosopher. Addressing the reader with the phrase "listen", the poet repeats the word "understand" over and over again in order to instill in him attention and sensitivity.
If we look at the interpretation of the verses of the poem, the ideas about the literary and philosophical content of the word become clear. According to the teachings of Hurufism, Nasimi, who considers the word to be creative, says that the word is the soul, that is, because the soul is a sign of life, he calls it life itself, vitality. The word is sublime, and its place is high lakes, and its respect should be held high. It is thought that if you look closely, you will see that the world itself has created the word, and that each side has six meanings, namely, east, west, north, south, up, and down. According to Nasimi, there is no limit to the word; He is not a material being, but an abstract being, and therefore its geometric dimensions, length, width, height and depth, cannot be found, but you can understand that the existence of the word cannot be doubted, and as a lesson from our Prophet, applied. The Prophet himself said that the heart is the highest level of mercy and compassion, because he saw that the word is a mine in the heart, a treasure.
This idea of Nasimi coincides with the issue of "name" (word) and "concept" in linguistics. Although the name is descriptive and abstract, it still represents both abstract and concrete objects and the relations to which they relate. Nasimi shows in his poems that the word is boundless, the possibilities and tasks of the language are wide, the meaning of the word is infinite and inexhaustible:
Ey Nasimi, gar sozun manasi bipayan deyil Neygun irmas kimsanin aqlianin piyanina?... The word "payan" used in these verses is of Persian origin - meaning "end", that is, Nasimi addressed himself and asked a rhetorical question: O Nasimi, if the meaning of the word is not infinite, why does no one's mind reach its end?
According to the poet, the word is "non-creature" (that is, it was not created by God, but it is "rayigan" (ray, gan - a word of Persian origin, meaning mufti) based on the existence of air. As in fairy tales, the word is equal to the nine layers of the sky, the four elements of nature - fire, water, air, earth.
Ey kiminsa naqis, kiminsa kamil, agilli oldugunu subut etmak istayan,
Ela soz de ki, hamiya gatsin; gunki asil soz hamiya gatan, aydin olandir.
On the one hand, the poet, speaking of literacy, considers the Qur'an (of Arabic origin: descendant) to be something in essence by identifying it with God (munzil - Arabic origin: sender). "Munzil" -"revelation": although these two words belong to different grammatical forms, they are formed from the same root letters in Arabic. In this regard, Nasimi considered the word "self-translator".
§airin masnavilarindan birina nazar salaq: Nitqi a§ya kandu soz soylar ayan
Kandü kandü zatini eylar bayan Har sifatdan xali etmi§ kandüzin, Kandü kandü üzina tutmu§ üzin. Even if the meaning of the Masnavi is explained, it can be said that things, whether animate or inanimate, speak for themselves visually, and that each object, consisting of words, declares its existence directly through what is visible. The word that creates everything does not want to show itself in any way in the case of solids, liquids and gases, the existence of which is freely hidden and whose existence is considered a physical (pure) Arabic. According to the poet, if there is a person who speaks and man is created by words, then the activity of speech does not belong to man, but to the word itself, and created itself by holding the word to itself, that is, to itself. The ability to speak in one's heart means that the word is written "both secretly and openly". As is well known, because of the rapid connection of language with thought, every word manifests itself in language after it has been formed in thought.
Oh you who want to prove that someone is imperfect, someone is perfect and intelligent, say a word that will reach everyone.
Oh Nasimi, if you are wise, respect your word and keep it short, because the word is infinite. In his poem "Word", the poet clarified one of the most important ideas from the point of view of linguistics, the concept of "literary language" with the phrase "there is a word for everyone, it is a word". That is, "If you want to prove something, say a clear word that reaches everyone!" Because one of the requirements for speech is that the word is clear. These ideas from Nasimi's poems emphasize the need to make innovations and corrections in the phonetic and grammatical system of the national language, the vocabulary of the language, which is one of the main principles of literary language.
Many terms and phrases from Arabic or Arabic grammar, which create a wide philological network covering various areas of linguistics, are still considered acceptable in the scientific style. In the works written by the poet in Persian and Azerbaijani, dot, line, letter, sound, syllable, word, word, sentence, meaning, composition, original, sentence, speech, govtar, language, language, language, verb, maful, fail, noun, nahv. The fact that Nasimi's philological knowledge is perfect is proved by the fact that it is used, listened to, understood, translated, questioned and a number of such words are used in accordance with the scientific content and task.
Ogar susan kimi abkam deyilsan, nitqa gal, söyla Bu harfi nöqta tarkibi na yerdandir bu gövtann? The poet did not ask the question without a reason, considering the connection between speech and language writing - the transformation of speech into speech by reading, and vice versa, "translating letters" into speech.
Gargi qaibdir vücudum har nazardan daima Gör na nazir, gör na manzar, gör na manzur olmu§am.
If we pay attention to the selection and arrangement of words, the linguistic term is not used in this verse. However, the poet's scientific thinking has
shown its activity in the poetic expression of thought, that is, the interpretation of the interpretation of the verse shows that different words from the same root take different forms.
Although his existence is hidden from view, I have been in control, visible and under consideration.
The poet's selection of such words by philological thinking and writing them into poetry applies not only to Arabic dictionaries, but also to words in Persian and Azerbaijani.
One of the main features of Nasimi's language style is the comparison of foreign words with the words of the mother tongue, emphasizing that they are close and have opposite meanings.
Nasimi's works in his native language also use the words "lisan" and "zaban" meaning "language", which means a means of thought and communication. Man naq§u xayalu xattu xalam, Man harfu lisan, lisan manam, man! In this verse, which has a philosophical content, "pattern" (image), "line points", (beautiful glass) -visible; "Imagination" is an invisible, invisible letter -"written, written" - language, "I" - is presented as "me" of the pen hibin, holding it equal to each other, opening the content of the word:
Husnun varaqi lisana galdi, Yetmi§ iki tarcumana galdi. From a religious point of view, the phrase "seventy-two translators" is used as a sign of the existence of seventy-two languages in the world, the beauty of beauty means "I am beautiful" and the poetic meaning of the verse is explained as "your beauty speaks seventy-two languages". Beauty itself is a
language, and all nations understand it with a wordless, unexplained look.
The views of prominent philologist, academician H. Arasli on the appreciation of Nasimi's work are also noteworthy. "Nasimi's views on language and methods of language use show that the poet set himself the goal of striving for the potential poetic potential of the Azerbaijani language, to voice the Azerbaijani language in the position of cultural poetry of the time, to prove its power and achieved it with great success. This was due to the fact that he ignored a number of Arabic and Persian words used in the Azerbaijani language and used real Azerbaijani words instead of them, or used Azerbaijani words in the same sense as a number of Arabic-Persian words" [1].
Nasimi, who points out the social significance of the language in his works, considers the language as one of the main features of the people, and raises the issue of the mother tongue and foreign languages, especially because of his conscious attitude to the mother tongue, confirms that he is a great citizen poet. Nasimi has played an unprecedented role in the history of the development of our literary language.
References
1. Arasli H. imadaddin Nasimi. Baki, Azarbaycan Dovlat Na§riyyati, 1972, 75 s.
2. Boyuk Azarbaycan §airi imadaddin Nasimi [Matn]: [monoqrafiya] /[kol. mual.: i. Habibbayli [va b.] (ba§ red.)]; elmi red. F. Ozizova; mas. red. A. Bagirli; AMEA, Nizami Gancavi adina Odabiyyat in-tu. Baki: Elm, 2019. 397 s.
ПРЕЦЕДЕНТНЫЕ ФЕНОМЕНЫ В НОМИНАЦИИ РАСТЕНИЙ
Ягумова Н.Ш.,
доцент кафедры английской филологии, Адыгейский государственный университет, кандидат филологических наук Берестнева А.В.
старший преподаватель кафедры английской филологии, Адыгейский государственный университет, кандидат филологических наук
PRECEDENT PHENOMENA IN NOMINATION OF PLANTS
yagumova N.,
Assistant professor of the Department of English Philology, Adyghe State University, Candidate of Philology
Berestneva A.
Senior Lecturer of the Department of English Philology, Adyghe State University, Candidate of Philology
Аннотация
В процессах номинации фитонимов частотными являются персональные мотиваторы. Применение прецедентного имени как мотиватора является признаком особого типа мотивации, называемого прецедентным. Иногда прецедентный оним недостаточен в своей вербальной форме для репрезентации прецедентной когнитивной структуры и ситуации, он требует распространения через визуальные произведения, окружающую предметную среду, устное народное творчество. Abstract
In the processes of nomination of phytonyms, personal motivators are frequently used. The use of a precedent name as a motivator is a special type of motivation which is called precedent. Sometimes the precedent onym is
