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UDK 8T1 SH.G.TOJIBOEV
BBK 83,3(0)9T
THE INFLUENCE OF SA'DFS "BUSTON" UPON THE PERSIAN MASNAVI WRITING REFERRING TO THE XIV-TH AND THE FIRST HALF OF THE XV-
TH CENTURIES
"Buston" by Sa'di Sherozi is considered to be the most important moral and educational masterpiece of world literature, at the same time it was written in such versified genres as a poetic pattern of masnavi and the metre of musamman mutaqorib mahfuz (maqsur) faulun / faulun/ faal (faul) and others. Indeed, the relevant metre is a specific epic literary production aimed at a reflection of a number of epic elements including: expression of emotional psychic spirit, manifestation of power and might of athletes, depiction of the scenes of battle, presentation of battle-fields and hero fighting in that space, immeasurable intensification of the war plight. However, Sa'di resorted to the above-mentioned elements in his lectures and admonitions, masterfully doing this work he displayed initiative in masnavi-writing whose metre became one of the authorative and moral ones further on. After Sa'di many commentators applied this metre in multivolume moral and educational literary productions.
"Buston" was influenced by different ways and means of thinking and mastership of Persian poets. One can mention that since the time of Saadi, many commentators turned out to be able to do it directly or indirectly. In particular, the versified ethical books written in Persian-Tajik referring to the XlV-th and the first half of the XV-th centuries developed in the light of the metre of "Buston" or the effective and profound dialect was famous for his gift of oratory.
The first poet writer who made an endeavor to study "Buston" by Sa'di was Hakim Sa'duddin ibn Shamsuddin ibn Muhammad. Later on, he was mentioned in the historical and literary written by Nizorii Kuhistoni (Kahistoni, Kuhistoni) or Hakim Nizori (1247/48; 1320/21). In accordance with the data of some scholars and a group of writers, such as Herman Etie, Altof Husain Holdi, A. Krimsky he was Shaikh Sa'di's contemporary and colloquist (2, 6).
In general, Nizori evinced respect for Sa'di's creations and views he remembered from Sa'di's lectures dealing with all the poems treating them with suavity. First of all, he was influenced by Sa'di's ideas and songs about which spoke and wrote observing eloquence based on the poet's tenet.
Kuhistoni wrote the masnavi referred to as "Dastur-Name" in the end of his life, i.e. 710/1310. In this final period of life Nizori himself described the history of creation of the relevant masnavi:
, v j sJ AVn.jS dj^A
.(9, 391a). J^j jl f^^j j J^
Although, the title of the literary production was presented as "Dastur-Name" written with the metre of "Iskandar-Name" in the copies of the mentioned masnavi, however, the reader was well aware that the production was mostly swayed over by the style of "Buston". Surely, "Iskandar-Name" by Nizomi and "Buston" by Sa'di were written in the same metre, owing to Nizori's being acquainted with Sa'di, he managed to gain the most favorable foundation targeted at the expression of morality exposed as doctrine.
As it was stated at the end of Nizori's "Dastur-Name" the poem was considered to be as a valuable guide beset with moral and discourse culture. Nizori witnessed moral and ethical crises widely spread first of all; he was sure that perfidy of statesman and rulers of that time would come to an end:
jlSjjj jtil jJ Ij
Aj ' j jjjjj j jSi ja. Aj
jl^j j^ gjS, ^l
jl^ jl ^J' J^ Aj, J^ f£ Aj jai j jjJ j^j jJjj^i Jjljj J^ Aj lj i_iji jjj CiijJ jl jlJ Ajcj^i lj i—iji
(9, 332)i^j j*- i^ij jj^j jj j
The poem consists of 576 beyts, this literary production was an invaluable one among his contemporaries and it survived up to nowadays (Samarkand 1382, 231).
Indeed, an ideological foundation of the literary production was created being based on the wisdom of the poet's life. Nizori's aim was to write and refine the educational and moral tenet in his own work. Most of the issues dealing with morality and ethics of the literary production originate from the literary and literal wisdom of the poet himself. He is alien to the idea of such kind of thinking, as dissemblering and gossiping, he characterizes them as "the intoxicated world where even the conversations about culture are a starry-eyed euphony, but still this imperfect world enjoys education and religion as well"(13, 233). While expressing free thinking and truthfulness of Nizori one can observe the reflection of his own image, namely care of souls and wisdom.
Concerning the stylistics of "Dastur-Name" and its literary significance the Czech scholar in oriental studies Yan Ripka wrote the following: this book is a kind of an attorney guiding "an assembly of counsels" for elaboration of postulates accepted by all ordinary people. The language of the book in question has neither inaccuracies nor drawback in its literal sense"(11, 247; 12, 404).
A great deal of researchers have made certain interesting notes concerned with ideological and semantic relations between "Dastur-Name" and "Buston" by Sa'di. For instance, A. Krimsky believes that "Dastur-Name" was written in a versified version imitating Sa'di's "Buston."
However, a scholar in oriental studies Ye. Bertels who translated the original version of "Dastur-Name" into Russian and prepared it for publishing, defines the community of these two literary productions in the terms of theoretical and practical life (4, 46).
In "Dastur-Name" Nizori's imitation and adherence to "Buston" by Sa'di was not very clear, but the poet was influenced by the stereotype of "Sa'di-Name". Another masnavi referred to as "Adab-Name" (695/1295-96) that belonged to the pen of Hakim Nizori was written in the same metre of mutaqorib and based on "Buston" by Sa'di. The latter is composed of 12 chapters and discusses the ethics aimed at judicial and palatial circles. While titling the chapters and expressing his ethical ideas, Nizori followed Sa'di's "Buston". For instance, the first part of this program is a synthesis of "Salaaminoma" being starting point proceeded from the perspective of the subject.
Nizori adduced:
jlj jjl jJ ^JjS mW ^^ jJ
.jljJ ^Jj^j oj JJ oJiaja. Aj ¿p^i Aj JjIjJ jJ jA j
jljjlj Ciuj^i jl ^J - jlikjJ .jlj oJjji ojf^ A^A
jjl Ajl^ jJ AS ji, ^jjji.
.(9,330a)^j ^Vl^ Ml^i - ( jjj Sa'di asserted as in introduction to "Buston":
^j^ijjjj ^ijj ¿IS jjl ja.
(15, 12).,*jl ¿■JJ jl jJ J j jj
The influence of "Buston" by Sa'di can be very easily noticed in the tastes and moods of Nosiri the Bukharai who lived in the XlV-th century. Proceeding from "Buston" by Sa'di, Nosiri's the Bukharian wrote his "Hidoyat-Name". The first point that is quickly encountered the unity of metre of these two literary productions. "Hidoyat-Name" by Hosir corresponds to the metre of "Buston" as we have mentioned above.
"Hidoyat-Name" is a philosophical and ethical masnavi consisting of introduction, conclusion, four articles (chapters) and 579 beyts. Nosir Bukharai in the epistles of "Hidoyat-Name" spoke about ethical teachings in regard to imagination and theology, concepts of wisdom and discipline as in "Buston".
"Suhbat-Name" is considered to be another masnavi based on "Buston". The relevant literary production is the first masnavis done by Imod Faqeh and it includes 1054 beyts, on the whole The former was completely edited in1350/51. The main topic of "Suhbat-Name" aimed at explaining ethics and morality values, inclusive should be taken into account as well. The main assignment of a poet a writer is also to classify such elements as lectures and admonitions, upbringing and tuition likening them to "Buston" by Sheykh Sa'di. Certainly, "Suhbat-Name" is a moral and educational literary production comprehensively. Imod Faqeh's readers are new Sufis and freshmen in most cases. The fact is that this educational and mystic masnavi is mentioned as "Tarbiyat-Name" by a group of scholars and researchers.
"Suhbat-Name" like "Buston" by Sa'di consists of ten chapters, Imodi Kirmoni called each chapter as "maqolat", which has been summarized as follows:
1. In the sense of justice and order of commentators and men-of-letters of the world; 2. "In the sense of Sufi"; 3. "In the sense of pupils"; 4. "In the sense of universal world"; 5. "In the sense of tsars (i.e. rulers of court); 6. "In the sense of immigrants"; 7. "In the sense of bravery"; 8. "In the sense of lovers"; 9. "In the sense of good men"; 10. "In the sense of singers".
The process of Imdod's activity in the interpretation of ten articles of "Suhbat-Name" is a very simple one. In the beginning of story, first of all, he presented theoretical discussion in reference to the interpretation of one of the senses, that of Sufis, later on, he adduced a similar short story as a means of reinforcement of thought. Finally, he summarized his point of view by dint of lectures and admonitions. The essence and content of the relevant literary production are interpreted by this method, in the end of each chapter and article the poet's pseudonym is mentioned. It is worth stating that in "Buston" Sa'di mentions his pseudonym 28 times: in introductory sections, in the end of some chapters of short stories, the latter contains beyts and one story where his pseudonym is mentioned 15 times. It is common knowledge that Sukhansaori Kirmoni in the end of the beyts and the story in question taken into consideration Sa'di's word. However, contrary to Sa'di's statement, Imod dwells on his pseudonym in "Suhbat-Name" in final parts of each chapter and article, on the whole.
To mention pseudonym in the end of chapters and articles of masnavi is out of the principle of this genre to some extent. In our opinion, the upspringing of this phenomenon is traced back to the grounds of discovery and invention worked out by those poets who lived in the XIV-th - the XV-th centuries. In most cases it appears in a prosaic form of masnavi. Repetitions of the pseudonym were also found in the chapters and articles of other masnavis, including "Si Name" by Amir Hussein Hiravi, "Dah Bob" by Kotibi Turshezi and other works.
In order to prove his word Imod Faqeh narrates one tale proceeding each article; the device being contrary to the means and method of "Buston" by Sa'di except the sixth article ("In the Sense of Immigrants") and the eighth one ("In the Sense of Good Men") these ones include two tales. Addition of tales in the sixth and ninth chapters is an apex of their theoretical and practical wisdom reveals Imod Faqeh's good manners and character expressed in the ideas of Sufism. Into the bargain, his scientific brightness and powerful thinking show his being knowledgeable for the main points of mystical sense; it is preconditioned with an influence of other themes; particular attention being paid to pursued objectives.
Despite Imod Kirmoni's word had great tendencies towards artificial sequences and improving oral ornamentations in meaningful cloth; apparently, the songs of this masnavi are considered to be one of the general tendencies in regard to masnavi as a genre, but we have noticed a few shades of that deviation, in the use of rhetoric art of speech and adduction of one gazel in the tenth article entitled "In the Sense of Singers" as well. However, these factors do not admit his poems to be on the same line with artificial ones; dealing with refined kindness as for resorting to a considerably large number of rhetorics which is a testimony to his mastership full of reciting poems, moral fortification and verbal logic of his speech have not lost their importance up-to-date.
It seems that most of the short stories of "Shuhbat-Name" possess authentic and real aspects, as the usage of the phrase "I heard" in the headline of all short stories testifies to it. The chapters of his short stories begin with the following titles: Sultan Mahmudi Ghaznavi (Chapter 1), Jesus (Chapter 2), Well-Mannered Youngling (Chapter 3), The Owner of "Dastfitoda-Name" (Chapter 7), and Unspiritless Lover (Chapter 8). If the relevant word is on a solid basis, then one can say that Imod wrote a part of read stories and heard about fairy-tales or past events and the reality of his time in verses.
However, it is unlikely that the phrase "I heard" in ephemeral "Suhbat-Name" were a mystery from the style of "Buston" by Sa'di. A commentator, Sheroz by name, placed the relevant word twenty-four times at the beginning of "Buston"'s short stories. In reference to it, Muhammadrizo Sarfi and Doriyush Kozim who made a great deal of endeavors to prepare and publish Imdodi Faqeh's masnavis were right. In conformity with these scholars' opinion one can assert that Kirmon followed "Buston" imitating the versification and compositional structure of "Suhbat-Name", he made an attempt to adduce an article out of "Suhbat-Name" for each chapter (6,45). Adducing the results of the analysis dealing with "Suhbat-Name" one can consider that the sway of Sa'di's literary productions over Imdod's thoughts and ideas is undoubtedly clear.
Another commentator who lived at the end of the XIV-th - the first half of the XV-th century was Kotibi Turshezi. He monitored to "Buston" by Sa'di in regard to masnavi style and in the introduction to his work Kotibi followed the contents and concepts of "Sa'di-Name" without any deviations in his own masnavi called "Dah Bob". The volume of this masnavi is 1170 beyts and some sequences form of the literary production are occurred more or less. As the poet states in the chapter
under the title "On the Course of Book Composition", this masnavi was written on his friends' advice and support.
The masnavi consists of introduction and ten chapters each of which was assigned for a certain theme and. Since the literary production is written in ten chapters, the author of the work presents their brief content in the section of the introduction; the title was becoming known more and more. Kotibi Nishopuri sustained an impact concerned with typical features of Sa'di's "Buston" in reference to masnavi, the latter's style and even enumeration and interpretation of chapters demonstrate his spontaneous adherence to Sheikh's manner of presentation as to the stylistics of the genre:
Ju ijj sJ jJ J^S jjl J ni« . Ju «^ilj sJ>> lj A jjl ^JJ ^U
^iU ojj-^ jJ Jjl mIj
.^iul jj^H <^l, '*'"'"' ^lj
jiiulJ ^jAj" j^j ^lj
.jiiulJ ^jAj" Jij lj jjl JjIj
j i^l ^j" ^Hj ^lj AJ jS I , jlj^J lj ,jjj Cijc J«lU ¿JjIj ^lj .jjj Cijp li, ^Aj ^ijc aj jj lj ^jSj jJ ^lj
.^A lj ^jSj jS, Aj lj j" ^A ^Jj jl jiujS jJ ^Jl" .<^Jj jl jiUjSjJ, <^jlc, JjIj ^jjli jJ ¿jji" ^lj
jl, ¿Ujli jj^^A ^lj jj-^ '""A j«lj
,Ij? jJjj A«a jl ^lj , lJj^ ij A jJjj^ ^jj
,JS AJ jJjS Jji. ^jJ jul ^lj (8, 98).. AJ JJjjJJ A£, ^jj? jj^ 0"lj
As it was cleared out of these beyts, Kotibi alongside with the chapters of "Buston", referred to his masnavis. Some of the topics of the chapters of "Sa'di-Name", like love, satisfaction, consent are occurred in "Dah Bob", where Nishopuri-commentator does not pay attention to the metre of "Buston" in his masnavi. Therefore, relying on the metre of ramal of the preserved musaddas or maqsur in "Dah Bob", Kotibi made an endeavor to study and canvass the essence and content of the former comprehensively. Another new initiative or nature depiction that was displayed by the author of "Dah Bob" is a broad spectrum of references to tajniz arts of speech. Kotibi adduced various forms of genres in rhyme and line of each hemistich that is one of the peculiarities of his literary production; in this regard, the relevant masnavi entitled as "Tajnisot" is perceived likely. It is worth underscoring that in the course of consideration dealing with the genre in question Kotibi managed to ground it up to the mark.
It is important to bear in mind that in the XlV-th - the XV-th centuries artificial poetry or poetics developed in our literature on a wide scale, this deviation influenced the masnavis written during that period as well. The artificial masnavi was referred to by the commentator distinguished with mastership is included into the introduction with explication of oral verbal arts; aruz metre figures here alongside with other mierothemes. This type of masnavi writing required high standard and profound study beset with artificial poetics. Kotibi insisted is masterfully on the talent of the author of "Dah Bob", later on, in the field of masnavi writing Nishopuri's approach was surveyed in the masnavi entitled "Sehri Hilol" by Ahlii Sherozi. However, Ahli evinced a lot of artificiality and refined kindness in "Sehri Hilol" which remained non-studied. Furthermore, Akhi used necessary and unnecessary jinosayn in the beyts of the relevant masnavi the fact that this artificial word reduced the merit of his statement to a certain extent.
In spite of "Dah Bob"'s abounding in many corroborations, refined kindness and artificiality, now it was written in simple and common language. Kotibi considers that the relevant masnavi is beneficial for upbringing and imbibition of moral tenet and he devoted it to his son called Inoyat, this point is clear from the above-mentioned statements.
Jjjjj jl? A ^jjjs jJ si
. qa ^JjJJ jl? aj jj ij jj? 1"
Culil jJC Jj
(8, 129).®^>! ^JIJI ^li - j Mentioning the names of a considerably large number of poets, including Firdawsi, Anwari, Khoqoni, Unsuri, Attor, Mavlavi, Sa'di, Nizori, Hofiz and Kamol, Kotibi in the final part of the masnavi lectured and emphasized for his son that he should follow the pattern of lifestyle and personal nuances of outstanding commentators of literature:
jl^c jj^. jJ ^jjjl^j jl .^lj jl^c j^ — jl ^jlj
,fj ^VJ* jj^ ^J^ jJ .^^JJ ^J* j j^ljf^H ,JJJ ijjJ J^ J - AJ j! jcl^i
. jj ^—jjjá j Jjla ^^l^l jj^ aA j^— jl - j ."i.Vnlj ^J^l Aliu Aj lj
^jljj jj^ jl jJ—j
,, .^jjji ^jljj jl JJ¿ ^já! jj-^- lj j^— JlJ ^^J JS
. Jl^S j! - J^ljj i'Til, ^ai jj¿
jj^ jjl - Aj jljS
( 8, 130) . j jlj Jlj ó*, jS ^ Certain beyts of the masnavi were created on the basis interests and high moral ideas of the poet himself. In such beyts the author of "Dah Bob" asserted the most elegant moral points:
Jj.^ Aj ^jla jl ^jAj— . ^ili^i ó* j jl^^ lj j 1"
,^jjjjjl^. JJJ jljj.^ —
(8,109). ^JJJ jl^, ^jj ^jAj- j! jj jj^
^jlc jj&j ^—j lj jj jS .^—l ^jlc j JjA— jl jjl jISjIj , jJijS j— lj jj^ jj! ^^l (8,116). jJájS b j— Aj Jul, lj ^ The poem despite of possessing a great deal of artificiality and refined kindness is addressed to the people who pursue a positive attitude and anticipation, in general.
As a result, one can assert that "Buston" by Sheikh Sa'di had a profound sway over masnavi writing of the XIV-th - the first half of the XV-th centuries. In the relevant period it was difficult to find a man-of-letters who wouldn't resort to the high content and attractive peculiarities of this masnavi's style formation and essence, upon the whole. It is remarkable that this effectiveness in both the metre and structure and in terms of the context is taken into consideration as well. However, it is common knowledge that among these masnavis certain ones are never comparable to Sa'di's. Although the masnavis in question were canvassed and studied by many poets, but they never managed to reach their highest level.
REFERENCES:
1. Ardashnikova A.N., Reysner M.L. The History Iran Literature Referring to Post-Mongolian Period (XIII- XYII). - M., 1996. - 140 p.
2. Bayeburdi Ch.G. The Life and Creation of Nizori - a Persian Poet of the XIII-th - the XIV-th Centuries. - M.: Knowledge, 1966. - 270 p.
3. Bukhoroi, Nosir. Collection of Poems with Introduction and interpretation. Under the editorship of Muhammad Durakhshon. - Tehran, 1353. - P.406 - 432
4. "Dastur-Name by Naziri". Preface, Persian-Russian text. Translated by Ye.E. Bertels. Oriental Collection of LGPB. Sere of Y. - Leningrad, 1926.
5. Gulshani adab(Flower Bed of Literature). Patterns of Persian-Tajik Prose. In five volumes. - V.2. - Dushanbe, 1975. - P. 179 - 194.
6. Kirmoni, Imod. Masnavis. Under the general editorship of Muhammadrizo Sarfi and Doriyushi Kozimi. - Kirmon: Scientific and Cultural Conference, 1380.
7. Kotibi, Nishopuri (Turshezi). Divan (Collection of Compositions). Under the editorship of Taki Vahidiyon Komyor, Sayed Khumuhammadi Khayrobodi, Mujtabo Javodniyo. - Mashhad, 1382.
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10.Persian-Tajik Literature Referring to the Xll-th - the XlV-th Centuries. - V.2. - Dushanbe: Knowledge, 1983. - 232 p.
11.Ripka, Yan. The History of Persian-Tajik Literature. Translation from Czech. Under the editorship of Ya.Ripka. - M., 1970.
12.Ripko, Yan. History of Literature in Iran. Translated by Dr. Iso Shahobi. - Tehran: The Institution of Translation and Publishing Book, 1354. - 642 p.
13.Samarqandi, Davlatshoh tazkiratu-sh-shuaro. Preparation and correction of Edward Brown. -
Tehran: Asotir, 1382. 14.Safo, Zabehulloh. The History of Literature in Iran. - V.4. - Tehran, 1373. 15.Sherozi, Sa'di Sheikh Muslihiddin. Buston. - Tehran: Al-Khudo, 1371. - 463 p. 16.http: // hakimnezari. Persian blog/ ir/ date of request: November 11, 2010.
Таассуроти «Бустон»- и Саъди ба маснависароии аср^ои XIY ва нимаи аввали XY
Вожа^ои калидй: "Бустон", Саъди, маснави, асруои XIY-XY, адабиёти форсу тоцик, вазн, мазмун, гоя
Мацола ба таъсири "Бустон»- и Саъдии Шерози ба маснавщои садаи XIY нимаи якуми асри XY тахассус ёфтааст.
Муаллифи мацола дар такя ба сарчашмауои илмиву адаби ва бо асноду мисолуои фаровон собит менамояд, ки "Бустон»- и Саъди ба маснависароии асруои XIY ва нимаи аввали XY таъсири пурфайз расонидааст. Тазаккур меравад, ки дар ин даврауо адиберо пайдо намудан душвор аст, ки аз мазмущои олии "Бустон» ва хусусиятуои цолиби шакливу гоявии он истифода накарда бошад. Муаллиф баъди таулилу баррасии теъдоде аз маснавщои асруои XIY-XY, мисли "Дастурнома" ва "Адабнома"-и Низории Кауистони, "Х,идоятнома"-и Носири Бухорои, "Суубатнома"-и Имоди Кирмони, "Дау боб"-и Котибии Нишопури ба ин натицарасидаааст, ки таъсирбардори аз "Бустон»- и Шайх Саъди уам дар вазну сохтор ва уам дар мазмуну гояи маснавиуои ин аср ба назар мерасад.
Влияние «Бустона» Саади на месневи XIV и первая половина XV вв
Ключевые слова: «Бустон», Саади, месневи, XIV - XV века, персидско-таджикская литература, размер, смысл и содержание, идея
Статья посвящена изучению степени и аспектов влияния «Бустона» Саади на месневи XIV -начала XV веков.
Автор статьи с опорой на научные и литературные источники и на основе анализа многочисленных примеров доказывает, что «Бустон» Саади оказал благотворное влияние на процесс создания произведений в жанре месневи в XIV - начале XV веков. Отмечается, что в этот период трудно обнаружить литератора, который бы не перенял высокие мысли и не использовал интересные структурные и идейные особенности данного произведения. На основе рассмотрения и анализа нескольких месневи XIV - начале XV веков, как "Дастурнаме" ва "Адабнаме"-и Низории Кахистони, "Хидоятнаме"-и Носира Бухорои, "Сухбатнаме"-и Имода Кирмони, "Дах боб"-и Котибии Нишопури, автор статьи приходит к выводу, что влияние «Бустона» Шейха Саади прослеживается как в размере и структуре, так и в идейном содержании месневи рассматриваемого периода.
The influence of Saudi's "Buston" on the mesnevi of the fourteenth and fifteenth centuries
Key words: "Buston", Saadi, mesnevi, XIV - XV centuries, Persian-Tajik literature, size, meaning and content, idea
The article is devoted to the study of the degree and aspects of the influence of Saudi's "Buston" on the mesnevi of the fourteenth and the beginning of the fifteenth centuries.
The author of the article, basing on scientific and literary sources and on the basis of the analysis of numerous examples, proves that "Buston" Saadi had a beneficial effect on the process of creating works
in the genre of Mesnevi in the XIV - early XV centuries. It is noted that during this period it is difficult to find a writer who does not take high thoughts and does not use the interesting structural and ideological features of this work. Based on the consideration and analysis of several mesnevi XIV - early XV centuries, such as "Dasturnoma" and "Adabnoma" Nizory Kahistoni, "Hidoyatnoma" Nasiri Bukhiroi, "Sukhbatnoma" Imod Kirmoni, "Dah bob" and Kotibi Nishopuri, the author comes to the conclusion that the influence of the "Buston" Sheikh Saadi can be traced both in the size and structure, and in the ideological content of the mesnevi of the period under consideration.
Маълумот дар бораи муаллиф:
Тоцибоев Шарифцон Гайбуллоевич, номзади илмуои филологи, дотсенти кафедраи адабиети классикии тоцики Донишгоуи давлатии Хуцанд ба номи академик Б. Гафуров (Чумуурии Тоцикистон, ш. Хуцанд), E - mail: tsharif@mail.ru Сведения об авторе:
Таджибоев Шарифджон Гайбуллоевич, кандидат филологических наук, доцент кафедры таджикской классический литературы Худжандского государственного университета имени академика Б.Гафурова (Республика Таджикистан, г. Худжанд), E-mail: tsharif@mail.ru Information about the author:
Tojiboev Sharifjon Gaibulloevich, Candidate of Philological Sciences, Associate Professor of the Department of Tajik Classic Literature under Khujand State University named after academician B.Gafurov (Tajikistan Republic, Khujand), E-mail: tsharif@mail.ru
