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0THE THEME "DADA GORGUD" IN NABI KHAZRI'S CREATION
KHOSHBAKHT TAYYAN GIZI ALIYEVA
Ph.D., head teacher of the Department of Literature Teaching Technology, Azerbaijan State Pedagogical University
Summary. The article talks about "Dada Gorgud" in the work of Nabi Khazri. It is known that the epic "Dada Gorgud" is one of the oldest literary and artistic sources of the Azerbaijani people. The events described in the saga are closely related to the history of Azerbaijan in the 7th - 12th centuries and are written in Azerbaijani Turkish. People's poet Nabi Khazri remained true to the spirit of the epic "Kitabi - Deda Gorgud" and managed to create an original work. This poem by Nabi Khazri is considered one of the most successful works written on the theme of "Book-Dade Gorgud" in Azerbaijani literature. The line of modernity is very strong in the play. This line is manifested not only in the contemporary sounding of eternal themes such as patriotism and mother's love, but also in the approach to history with the criterion of modernity.
Key words: epic, poem, patriotism, Kazan Khan, Oguz, infidel, heroism.
Introduction
It is known in the world of science that "Dada Gorgud" sagas are among the oldest literary and artistic sources of the Azerbaijani people. The events described in the saga are closely related to the history of Azerbaijan in the 7th - 12th centuries and are written in Azerbaijani Turkish. The return to "Kitabi - Deda Gorgud" themes was the return of national artistic thinking, and this return is related to past traditions, heroism, and historical connections between the past and modernity. These topics are also relevant because the ideas presented in the epic have not lost their relevance for modern times.
Showing that the image of Dede Gorgud and individual heroes in the saga are a moral example of wisdom and heroism has a moral value for today's young generation. People's poet Nabi Khazri created an original work, staying true to the spirit of "Kitabi - Deda Gorgud" epic. In the heroic epic "Legendary Dreams", the poet addressed the poem "Looting the house of Salur Ghaza".
This poem by Nabi Khazri is one of the most successful works written on the theme of "BookDada Gorgud" in Azerbaijani literature. N. Khazri explains the reason for writing the poem as follows: I was working on the poem "Mother". I had the following thought: "Today, in the heart of the 20th century, who were the spiritual brothers and sisters of my mother who lived proudly and ended her life?" My dream went to distant centuries. Burla Khatun came to my memory. Nushaba passed my eyes. I thought about it. I remembered Hagar's heroism. It seemed to me that my mother embodied the pure motherly feelings, female wisdom, female poetry and female courage of her sisters and brought it to my age. That's why I decided to write a series of poems under the name "My mother's sisters".
Theoretical framework
I turned to "Kitabi-Dada Gorgud", an ancient and eternal monument of Azerbaijani culture. Burla Khatun came to life before my eyes. The pain of the unimaginable grief and suffering that he experienced only on the path of his son Uruz sounded like an echo in my heart. And the poem "Legendary dreams" was written" [Khazri, N.1984:61].
Nabi Khazri's poem "Legendary Dreams" stands out for its uniqueness in several ways:
This poem really resonates with the dimensions and criteria of a "heroic epic". Because the main goal in the poem is to praise heroism. The main theme and the most important idea attracting attention in the epics "Kitabi - Deda Gorgud" is the glorification of heroism. Also, Nabi Khazri implements this idea with the modern artistic and poetic thinking, the philosophical and moral criteria of today. In this sense, the past and present are united on one level, heroism and generosity become the moral value of a nation.
Nabi Khazri not only wrote verses in the "Kitabi-Dada Gorgud" epics, but also breathed a new poetic life into it. The poem which attracts attention with its high poetry, poetic intricacies, and ease of artistic description, is considered one of the pearls of modern Azerbaijani poetry precisely because of these features.
"Legendary Dreams" is a two-part poem consisting of six dreams. The dream actually has a symbolic meaning. Although the dream has a mythical-symbolic character, the stories that take place in the dream reflect the historical reality. Each "sleep" covers a certain part of the neck, other "sleep" ensures this sequence. But "dream" also sheds light on separate problems arising from the general idea of the work. The first dream is called: "I saw a robbery in a dream." Here, it is described that Salur Ghazan went hunting, Shoklu Malik who heard about this, attacked the village, took forty beautiful girls, Burla Khatu, and his son Uruz prisoner. The main idea is to condemn looting. The poem begins with a description of the village where Salur Ghaza lives: Endless Oguz They are straight. Dede Gorgud passing places Marble frosted Raft rocks Velvet grass Grasslands.
If you hold a meeting in these plains, Your voice falls on the stars. Pleasant winds singing The swelling is the breath of the mountains. The blue arch of the sky is below A stylish tent reaches the sky Like a place It is a dome.
...The tent is wide, the tent is high A tent with ninety poles. Gazan Khan's ancestral home A salt-bread tent [Khazri, N.1984:62].
It is in this part of the poem ("First dream") that N. Khazri's poetic talent is fully revealed; the poet uses the most suitable divisions of the syllable weight (seventh, eighth, eleventh), often divides the stanzas into two or three parts. He turns to the means of artistic description related to the characteristics of the event and situation he describes. However, he does not depart from the poetics of the epic "Dada Gorgud" and the way of speaking, he tries to keep that rhythm and poetic harmony. For example, Burla Khatu's conversation with tea can be the most obvious example of this: From sparkling rivers My rushing water, My sparkling flying water, my flying water My overflowing water. To the big ships Proud winged water, The princely horses crouched, He sipped from you, My dark-haired head is a sacrifice, My white sparkling water, to you, Dove, spread your wings I will tell you my problem [Khazri, N. 1984:65].
The second dream ("I saw a mother in a dream") is entirely dedicated to the painful feelings and emotions experienced by the character of Burla as a mother. The "old enemy" Shoklu Malik wants to humiliate Ghazan Khan in order to take revenge on him, and he orders that Burla Khatun should pour wine for me from a golden cup this evening.
As you can see, the event in the epic is repeated in the poem. However, N. Khazri follows the original path and highlights the mother's inner turmoil more prominently. A mother remembers the happiest moments of her life with her son, the first time she fell from a horse, she remembers the pain in her heart. Mother remembers all this and falls at the feet of her son Uruz:
- Stop, mother! Get up, mother!
You who tower over me Will the mountain kneel, oh mother?
- No, baby, for mom
The child itself is a high mountain. He also has a mountain of children It is the biggest mountain in the world. Fall at the foot of the child
It is not to be humbled, but to be exalted [Khazri, N. 1984:68-69].
The second dream ("I saw a mother in a dream") is entirely dedicated to the painful feelings and emotions experienced by the character of Burla as a mother. The "old enemy" Shoklu Malik wants to humiliate Ghazan Khan in order to take revenge on him, and he orders that Burla Khatun should pour wine for me from a golden cup this evening.
As you can see, the event in the epic is repeated in the poem. However, N. Khazri follows the original path and highlights the mother's inner turmoil more prominently. A mother remembers the happiest moments of her life with her son, the first time she fell from a horse, she remembers the pain in her heart. Mother remembers all this and falls at the feet of her son Uruz:
- Stop, mother! Get up, mother!
You who tower over me Will the mountain kneel, oh mother?
- No, baby, for mom
The child itself is a high mountain. He also has a mountain of children It is the biggest mountain in the world. Fall at the foot of the child
It is not to be humbled, but to be exalted [Khazri, N. 1984:68-69].
The third "dream" ("I saw a shepherd in a dream") reflects the fight of the Karaca shepherd with the enemy. Here, too, the mastery of artistic imagery typical of N. Khazri's poetry, the allegories he chooses to make the image's strength, grandeur, and remoteness more obvious, are in place. In the poem, it is the fourth "dream" ("I saw a son in a dream"), which is remembered for its artistic-poetic impact and emotionality. Here is the last conversation between mother and son. The mother understands that tomorrow they will cut mincemeat from her son's meat and put it in front of her. It is not easy to be a mother at such a time. But Uruz says: I only have one wish In my last moment By my side I see my mother brave I'm proud. I am my mother
I will replace a thousand men [Khazri, N. 1984:84-85].
The fifth and sixth "dreams" are dedicated to Salur Ghaza's dream (as in the epic) and how he defeated the enemy and saved his wife and son. N. Khazri does not intervene in the incident. But it revives it with the possibilities of modern poetry and poetic thinking.
Thus, the length of "Dade Gorgud" gets the right to live in poetry during the length of "The looting of Salur Ghaza's house".
Nabi Khazri wrote the play "Burla Khatun". Thus, in Azerbaijani literature, Deda attracted attention as the most consistent author who addressed Gorgud motifs. Undoubtedly, after his successful appeal to this topic, our other poets also turned to "Book - Deda Gorgud" topics.
Nabi Khazri's dramatic poem "Sword stuck in the ground" and verse drama "Burla Khatun" were successful results of his appeal to "Kitabi - Deda Gorgud" epics in dramaturgy. This poem attracted attention with its high poetry and artistic perfection and was received with sympathy. Nabi Khazri's plays "Sword stuck in the ground" and "Burla Khatun" were also written on the basis of "Kitabi-Dade Gorgud". It seems that patriotism, motherly love, and country love attracted him more and suddenly three works on the same topic appeared from the pen of one poet. Of course, the close connection between these works and at the same time different aspects attract attention. Thus, there are certain similarities between "Legendary Dreams" and "The Sword Stinged in the Earth". The poem is written in a conventional metaphorical plan and the events described in the work were realized through a dream. The genre of the poem has a lyrical-dramatic essence - here lyrical appeals and rites are combined with lyrical monologues and dialogues. In the poem "Sword stuck in the ground", the components belonging to the drama were preserved in accordance with the requirements of the genre. That is, it is possible to talk about this work only as a play. But what is the similarity and closeness between these works? The most important thing is that the author kept almost the same events as in the poem and the play. We find copies of the poem in the play as well, with only slight changes. It is felt that the poem "Legendary Dreams" was the main factor and the main stimulus in writing the play "The Sword Stinged in the Ground".
But what was the reason for writing the verse drama "Burla Khatun" while these two works were on the square? In our opinion, the main reason here is the character of Vurla Khatu. He wanted to see the image of Burla Khatun in the epic - her character as a mother, as a brave woman - more magnificent and majestic.
The play "The sword stuck in the ground" consists of eight scenes. In this play, the author highlighted the theme of patriotism. It is no coincidence that the work begins with these words of Deda Gorgud.
Listen people, I have a word for you.
There is my mark on this mountain, on this stone.
I am Dede Gorgud, Elin's oldest son.
I am Dede Gorgud with my people.
Alvan homeland is plain,
Places where husbands and wives pass,
Marble frosted raft rocks,
Grassy places with velvety grass.
It is the burning land of the East,
This is the Land of Fire! [Khazri, N.1984:116].
This motif is developed throughout the saga.
The second main motif in the play is related to mother's love, and both motifs complement each
other.
The line of modernity is very strong in the play. This line is manifested not only in the contemporary sounding of eternal themes such as patriotism and mother's love, but also in the approach to history with the criterion of modernity. At one point in the play, Shoklu Malik says:
God, what kind of land is Azerbaijan,
What a tribe, what a nation!
I have never seen a nation like this nation.
Swallows lies like truth
One Nation is worth a hundred armies.
I couldn't do it with Burla Khatun either.
I couldn't do it with a single woman.
Here my arm is broken,
My name was called "manfus" here.
For the first time my arrows hit the stones,
My way here would be black!
I hate your way, your footsteps,
I hate my son and myself.
My hatred is a hard stone, a high mountain,
I hate this country, this land! [Khazri, N.1985:200-201]
In this passage, the image of the enemy of Shokulu Malik is revealed in all its shades: He does not hesitate to express his hatred for the nation and hand of Ghazan Khan. But at the same time, he admits his weakness and helplessness in front of his enemy. No matter how many enemies Shokulu Malik defeats, he is powerless against the army of Ghazan Khan, but before this army, he could not break the will of Burla Khatun and Ulus. Kazan Khan could beat Shokl Malik with a sword in front of everyone. But he says with great generosity: Kazan Khan: (to all) To pardon the enemy I have my right You, my eagle heart, My eagle-eyed people. Who comes to this land with a sword He himself dies by the sword. Burla Khatun approaches. This sword, avenge yourself
Shoot, let's see the mourning of your bloody enemy [Khazri, N.1985:201], Kazan Khan's appeal to Burla Khatun is not without reason, the worship of the Woman-Mother cult comes from the epic itself and attracts attention as one of the sacred beings of all ages. In the words of Academician Hamid Arasli: "Women, father, mother and horse are considered sacred in Boyi" [Arasli, H. 1988:34].
In this scene, Nabi Khazri raises the image of Burla Khat to the peak of spiritual excellence. He is victorious in the face of the enemy and can take revenge at a moment's notice. But Nabi Khazri chooses another way:
Burla Khatun is standing in front of Shoklu Malik. The enemy falls at his feet. Burla Khatun raises the sword.
Shocked Malik: Mom!
Burla Khatin:
Is there a word mother in your language? Kazan Khan:
Strike, strike, unforgiving human enemy! Burla Khatin:
You hurt your mother in her native land, But then your mother didn't remember? Your mother didn't say stop, killer! After all, compassion is not weakness. Mothers are not mean, they give birth to sons, Sons are born and cherished. Your only sons
They are disrespectful!
"Death" - you drew your horse here,
I curse you, I curse you.
Now that you've named mother,
I forgive you mother.
Burla Khatin lowers the sword. The sword is stuck in the ground in front of Shocked Malik.
Kazan Khan:
Bow down to this ground, bloody murderer!
Mother is standing here,
Kiss this land!
Shocked Malik kisses the ground" [Khazri, N.1985:201-202].
This scene also brings glory to the name of Azerbaijani woman - Azerbaijani mother. We watched such a scene in the verse play "Mother" by our great dramatist Huseyn Javid. In that play, Murad severely injures Khanpolad, comes to Salman's house, and begs her for mercy, not knowing that she is the mother of the hero whom Salman killed. The wounded Khanpolad is brought home. He bequeaths to his mother not to shed blood and to forgive Murad. Following her son's will, Selma forgives the murderer. Murad dies regretting the generosity he saw from his mother and suffers from a pang of conscience.
Of course, the situation is similar, and in both works, the image of Mother attracts attention with its greatness and grandeur.
The play "Sword stuck in the ground" ends with songs sung by Dede Gorgud, Ulus and Burla Khati in honor of the Land, Homeland and Azerbaijan.
Burla Khatin:
Let the bloody months, painful years pass,
Let us raise courage and love.
O coming ages, coming generations
Our loyalty is a memorial to you!
Our heart is a fire burning in hearts,
Azerbaijan is a great sun for us! [Khazri, N.1985:204]
The play "Sword stuck in the ground" was highly appreciated by literary criticism as one of the most successful examples of the appeal to the theme of "Kitabi-Dada Gorgud". Literary criticism assessed N.Khazri's appeal to the sources of oral folk literature as looking at the epic and history from today's perspective. The critic pointed out that those who imagine writing a new work on the subject of "Grandfather Gorgud" and mechanically bringing this or that volume to the stage, screen, and prose are seriously mistaken. From this point of view, N. Khazri's play is a modern work.
1. Arasli, H. (1988), History and problems of Azerbaijani literature. Baku, "Youth" publishing house, 730 p.
2. Arasli, H. (1962), "Book - Dede Gorgud". Baku, Azernashr, 176 p.
3. Khazri, N. (1985), Generations - centuries.Baku,"Youth" publishing house, 207 p.
4. Khazri, N. (1984), Selected works (in 4 volumes, volume IV). Baku, "Yazichi" publishing house, 264 p.
5. Khazri, N. (2000), Burla Khatun. "Azerbaijan" magazine, No.12, 60 p.
6. Nabiyev,B. (1990), Let's start with ourselves. Baku, "Elm", 294 p.
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