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ХУСУСИЯТХОИ УСЛУБИВА Шарипова Муътабар Зах;ибуллоевна, н.и.ф..
ТАХДИЛИ БАДЕИИ дотсенти кафедраи забон ва адабиёти тоцики
«МУНОЦОТНОМА»-ИХОЦА МДТ "ДДХ ба номи акад.БТафуров "
АБДУЛЛОХИ АНСОРИ (Тоцикистон, Хуцанд)
СТИЛИСТИЧЕСКИЙ АНАЛИЗ И Шарипова Мутабар Захибуллаевна, к.ф.н.,
ХУДОЖЕСТВЕННЫЕ доцент кафедры таджикский язык и
ОСОБЕННОСТИ литература ГОУ «ХГУ имени академика
«МУНОДЖОТНАМЕ» ХАДЖА Б.Гафурова "(Таджикистан, Худжанд) АБДУЛЛАХА АНСОРИ
STYLISTIC ANAL YSIS Sharipova Mu^tabar Zahidulloevna, Associate
AND BELLES-LETTERS Professor of the department of Tajik language and
PECULIARITIES OF "MUNOJOT- Literature under the SEI "KSU named after
NAME" DONE BYHOJI academician B. Gafurov"(Tajikistan,Kujand),
ABDULLAH ANSORI E-mail:mutabar-1977@mail. ru
Вожа;ои калиди Ансори, муноцот, сабк, наср, цофия, адабиёт, таърих, ирфон
Дар мацола масъалацои услуб ва хусусиятцои бадеии осори Хрца Абдуллоци Ансори мавриди барраси царор гирифтааст. Ансори барои насри ирфони ва классики сацми арзанда гузоштааст ва дар ин замина асарцои беназири ирфониро эцод кардааст. Хусусияти насри вай дар ташаккул ва тацаввули осори тасаввуфи цобили таваццуц мебошад. Гуфта мешавад, ки дар осори Ансори бештар маъно ва шакли калима дар як радиф царор доранд, ки ин махсусияти каломи вайро баланд мебардорад. Мацорати бадеии Ансори дар тасвири адаби ба воситаи насри мусаццаъ дида мешавад. Хамзамон услуби баёни вай дар осораш ба тарзи цадид пешнщод карда мешавад. Зеро дар матщои вай санъати нидо, насри мусаццаъ хеле моцирона истифода карда мешавад.
Ключевые слова: Ансори, расоил, муноджот, стиль, проза, рифма, литература, история, суфизм
В статье речь идет о художественных особенностях произведений Хаджи Абдуллаха Ансори, который внес бесценный вклад в суфизм, в развитие метода и стиля классической прозы, создал уникальные произведения литературы суфизма. Особо следует отметить его заслуги в области становления, формирования и изложения новой разновидности писем - суфийских писем, или муноджотнаме. В наследии Ансори часто словесное и смысловое художественное оформление оказываются рядом, и эта особенность возвысила искусство слово писателя. На фоне художественного мастерства Ансори словесное изображение вышло за свои пределы и приобрело значение специфического, духовного творчества, свидетельством чему является его рифмованная проза. Одновременно его стиль изложения, язык поэтических и прозаических произведений стали источником многих нововведений в язык и стиль творения.
Key words: Ansori, rasoil, munojot, style, prose, rhyme, literature, history, Sufism
The article under consideration dwells on stylistic analysis and artistic peculiarities of Hoji Abdullah Ansori, who made an invaluable contribution into the field of Sufism, in the development of the method and style of classical prose, and created unique literary productions devoted to Sufism literature. It is worth mentioning his merits in the field of establishment, formation and presentation of a new variety of letters - Sufi letters, or Munojot-name. Anson's legacy often brings verbal and semantic artwork side by side, and the relevant peculiarity raised the writer's art of speech. Adducing reliable data concerned with Ansorfs artistic prowess background, the verbal image went beyond its borders and acquired the importance of specific, spiritual creativity, as his rhymed prose is a testimony of it, upon the whole. At the same time, his style presentation, the language ofpoetic and prose literary productions became the source of a major considerable numbers of innovations in the language and style of creation as well.
Numerous considerable patterns of stylistic resources and belles-letters means of reflection can be found in "Munojot-Name" written by Khoji Abdullah Ansori. It is common knowledge that in the relevant literary production the style is considered to be as a property of creation, more precisely, its figurative form in the unity of all three aspects: in the mostly general terms, the relations of the details of objective visualization, general expressive structure, composition in which expressive-creative typing is carried out. The prosaic style of the former is characterized by capacity, significance and ambiguity of a word, upon the whole. Owing to its significance, the word serves as
the author's weapon, sword and meaningfulness as a screen covering the true sense of his designs and thoughts. This fact gave and provided the maxims of "Munojot-Name" mandatory humanity and iridescence surrounding them with a haze of mystery and strengthening their attractiveness:
"Uzrhoi mo benazir, ki tu ghanivu mo faqir wa bar aybhoi mo magir, ki tu ghaviu mo faqir! Az banda khato oyadu zillat wa az tu ato oyadu rahmat "(1,2). "Accept our apologies, because you are rich, but we are poor, and forgive our sins, because you are powerful, but we are weak! " God's slaves are humiliated and therefore they commit faults, but from you there come God's gift and mercy".
Apparently, hereby we perceive the importance of the following words "ghani, faqir, qavi, faqir, " their weightiness which gives and adduced specific power to every single phrase, even to a separate beit or line in the explored literary production where a direct meaning of a word is comprehensible for a reader, it delights the latter with unexpectedness and even rescue.
It is worth mentioning that the style of presentation in "Munojot-Name" with all its attractiveness and simplicity in the plane of belles-lettres comprehension, details and maxims became a prerequisite for appearance of a dimensional syllable in Ansori's Sufi prose. Undoubtedly, in the explored historical period poetry was forced to master with the experience of prose, even partial "sacrifice" is distinguished with pure specificity, therefore, after reworking relevant experience and discarding "costs of influence", it would be possible to find in itself certain possibilities for a diverse expression of belles-lettres ideas. Hoji Abdullah Ansori's creation turned out to be a landmark in this sense: it most clearly reveals a penetration of prose into the reserved sphere of divine moral and ethical lyrics exclusively. Seemingly, in conformity with the author's installation on introducing poetry into "Munojot-Name" for a wider circle of readers, for whom plot, epic and lyricism of the work could be a condition that allowed the plot elements to be made explicit. The study beset with Hoji Abdullah Ansori's prosaic heritage reveals that the writer strove to simplify its language making it harmonious and enjoyable for a certain extent for the reader, doing understandable and effective.
The writer's Persian legacy is targeted at a successful selection of rhymes and verbal signs forming as a rhymed prose called musaja: "... Az banda khato oyadu zillat wa az Tu ato oyadu rahmat". Studying the adduced passage it is easy to come to the conclusion that Hoji Ansori in the development of the details of objective visualization surpasses his pen-brothers in the wealth of proper verbal, semantic expressiveness of words as well. However, in "Munojot-Name" the emotional expressiveness of proper belles-letters semantics is realized and emphasized by dint of applying various approaches to intonational-syntactical structure of phrases and in this sense it determines their peculiarities profoundly. The latter is carried out by virtue of usage of certain "figures of speech" - inversion, verbal repetition and antitheses, rhetorical invocations and questions, exclamations and other simpler or more general and broad syntactic constructions. Indeed, the intonational-syntactical dynamics of the verbal system in the former is emphasized and enhanced by means of its rhythmical organization - poetic or prosaic. The figurative meaning of poeticized words, various shades of their quite tangible metaphorical and metonymical implication in "Munojot-Name" is considered to be as a very important, sometimes even decisive side of semantic expressiveness of artistic tropes, conveying this or that attitude of the author to the problem in question. In "Munojot-Name" sometimes its verbal lines (measures) possess certain rhythmical order consisting in relatively, incomplete equality of their verbal stresses entirely.
In reference to it, "Munojot-Name" is considered to be as a model of a harmonious rhymed prose entitled musaja, it is out of difficulties as to expressing thoughts. The latter contains repetitions and tarses (embellishment of artistic speech, poetry with an internal rhyme, rhetorical figures), antithesis, opposition and eulogy. In the literary production under study the problematic work is of much more significance - isolation, strengthening, development in the process of creative formation of the characteristic peculiarities of maxims state, some of its specific sides, properties, relationships which for the author are ideologically most significant and important, for which, in fact, a very selection of such, and no other words, constructions, artistic means and figures takes place. Hoji Abdullah Ansori's fundamental interest in these most important details of the artistic means of depiction already potentially lies in their certain ideological and emotional assessment which in the process of creation finds its expression in the details of the figurative form of "Munojot-Name." Consequently, the most important for understanding the relevant literary production the word "leading", among specific aspects of its content, is its problematics, because it directly follows from the ideological worldview of the writer, from his ideals identifying other specific aspects of the content of his masterpiece.
Another property of "Munojot-Name" is considered to be the presence of commentary, brevity and compactness of sentences. Clarification of phrases and laconic presentation of sentences are
positive peculiarities of the prose referring to the Samanid's Epoch. Hoji Abdullah Ansori expresses his own opinions and thoughts in reference to the form of compact sentences, rich and colorful phrases. For instance:
"Iloho, Turo chun xuyam, ki gar malakut kamtar az muyam" (1.42).
- " Oh, God, as I am in search of yours, I am thinner than a hair."
"Iloho, dastam gir, ki dastoves nadoram wa uzram bipazir, ki poi gurez nadoram" (1, 42) - "Oh, God, take my hand, but there is no present in them, accept my apologies - I have no legs to run".
1 The beautiful prose of "Munojot-Name" is extremely easy, however, with all its real lightness, imitation seems to be rather difficult. In the following centuries, the majority of men-of-letters imitated to Hoji Abdullah Ansori's style, and only Saadi was the most successful one among them. He managed to bring the style of rhythmic prose called musaj by Hoji Abdullah Ansori to the highest level of perfection.
2. The language and style of the author's presentation in the simple and euphonic prose of "Munojot-Name" firmly rely on the original Persian vocabulary, its elegant and ancient structure, its word-formation resources, verbal moods and it completely lacks an artificiality of unnatural style.
3. "Munojot-Name" is considered to be as a kind of treasury targeted at the Sufism terminology and its interpretation as well. Hoji Abdullah Ansori expounded his aesthetic spiritual concepts with rhyming phrases, beautiful and attractive structure of couplets and rubais, resorting to subtle artistic skills.
4. In the pathos of "Munojot-Name" there are also certain common, epoch-making and nationally repeated peculiarities - moral edification.
Hoji Abdullah Ansori made an invaluable, reliable, irreplaceable contribution into the history of Persian-Tajik literature and culture, not only by the highest flight of thought in the field of Sufism, but in the development of the method and style of classical prose either, he created unique literary productions in Sufism literature. It is necessary to keep in mind that his merits in the field of establishment, formation and presentation of tarassulas - a new kind of letters - Sufi letters, or munojotnam, as evidenced by availability of the two of his significant literary productions such as: "Munojot-Name" and "Ilohi-Name".
The study of Hoji Abdullah Ansori's life and heritage leads us to certain conclusions creatively, thematically and originally:
Firstly, it should be underscored that Hoji Abdullah Ansori lived in the era when the development of Sufism literature was at its initial stage. For this reason, he is on a par with the first thinkers of classical literature. He made a significant contribution into the development of special varieties of such genre in Sufism literature as tazkira (annals, memoirs), and into the theoretical and belles-letters heritage of Sufism.
Secondly, Hoji Abdullah Ansori left a valuable unique heritage revealing various problems in regard to the tenet of Sufism: love for deity, patience, demand, hope, contentment and like this, abundance maxims. It is underscored that the literary heritage belonging to the pen of Hoji Abdullah Ansori should include the following ones: "Manozil-us-Soirin", "Zamm-ul-Kalom va Ahlikhi", "al-Foruk fi-s-Sifot", Kitob-ul-Arbain" , "Sharh-it-Taarruf li Madhhab-it Tasavwuf", "Manokib-ul-Imom Hanbal", "al-khulosat fi-l-Hadis Kullu Bidat vaz-Zilolat", "Tafsir-ul-Kharavi", "Kasidat-fi-l-Etikod", "Munojot", "Tabakot-us-Sufiya", "Nasoeh", "Sad Maidon", "Malfusot".
Thirdly, "Munojot-Name" is considered to be as a literary production of Sufism literature created in the mainstream of munojot and tale, however, it contains rich commentaries and interpretations for individual maxims of Sufism, which convey specific ideas, the author's views, reveal the subtleties of the tenets of Sufism. Munojot opened the way to the interpretation of the problems beset with Sufism, that being a testimony of the development of the writer's aesthetic thoughts. The main content of "Munojot-Name" begins with the rubai and praise of Allah, reminiscent of the style of the Quranic surah "Ikhlas" and ends with a prayer addressed to Allah. Having analyzed the content of the topic under consideration we indicated that the relevant work, in terms of its form, structure, and content, is an original and a new one in Persian-Tajik literature. Among the previous prosaic literary productions belonging to the pen of Hoji Ansori of Persian-Tajik authors, only "Nur-ul-ulum" by Abulhasani Kharakoni, who was his mentor, has certain similarities, on the whole. But despite of all this "Munojot-Name" in which there is a strict logical connection between individual prayers, which differ from the appeal of "Iloho!" and consist of separated treatises, and are distinguished with a unity of Sufi religious subjects, the author's incomparable skills whom he resorts to rhymed prose referred as musaja and belles-letters devices of depiction, are considered to be an original and unique literary production in the history of Persian-Tajik Sufi prose.
Fourthly, Ansori's literary productions covering the separate problems dealing with Sufism, are not at the same time devoid of literary and artistic merits either. It is worth stressing that musicality, rhythm,
original resorting to rhyme and visual expressive means of the language creating a special flavor and literary heritage as a significant artistic achievement and high poetics which contributed into the expression of hidden maxims of the author impart them high artistry irrespectively. Adducing the result of the analysis associated with the belles-letters means of the imagery in "Munojot-Name", it turns out that Hoji Abdullah Anson's specific genre mainly abounds in the following poetic figures that were simpler, more natural and accessible to perception: tavsif (epithet), tashbih (simile), and history (metaphor, allegory), tajnis (homonymy, puns), tazod wa mukobala (antithesis and juxtaposition), talmih (reminiscence), takror (repetition), ishtikak (derivation) and others, preserving simplicity of presentation, graceful style and harmony of artistic words.
Fifthly, one can assert that the style of exposition beset with of poetic and versified language of Hoji Abdullah Ansori's literary production became the source for many innovations in the language and style of his own creation.
Sixthly, wordy and semantic belles-lettres design turn out to be nearby much more frequently in Ansori's legacy, and the relevant peculiarity raised the writer's art of speech to such a high level that in contrast to the background of Ansory's artistic mastership, verbal reflection went beyond its boundaries and acquired the significance of a specific spiritual creation, as it is a testimony applicable to his rhymed prose, upon the whole.
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