{"id":22340,"date":"2022-06-10T08:27:02","date_gmt":"2022-06-10T03:27:02","guid":{"rendered":"https:\/\/www.bukhari.uz\/?p=22340"},"modified":"2022-06-08T11:27:17","modified_gmt":"2022-06-08T06:27:17","slug":"badiiy-tafakkur-yog%ca%bbdusini-izlab-qadim-arab-notig%ca%bbi-xitobasi-misolida","status":"publish","type":"post","link":"https:\/\/bukhari.uz\/?p=22340&lang=oz","title":{"rendered":"BADIIY TAFAKKUR YOG\u02bbDUSINI IZLAB: QADIM ARAB NOTIG\u02bbI XITOBASI MISOLIDA"},"content":{"rendered":"

Insoniyat tamadduni bu yer yuzidagi turli xalqlar, millatlar, elatlarning milliy madaniy merosidan iborat yaxlit bir-butunlikdir. Bunda har bir milliylik o\u02bbz ranglari, jozibasi bilan butunlikni bezaydi, o\u02bbzining benazir o\u02bbrnini ko\u02bbz o\u02bbngimizda to\u02bbldirib turadi. Bugungi kunning ehtiyoji esa insoniyat taraqqiyotining yangi va yuksak bosqichiga yo\u02bbqotishsiz, xatolarsiz ko\u02bbtarilish ekan, bu jarayon aynan mana shu o\u02bbziga xoslikni tabiiy holda anglash, tushunishga ham bog\u02bbliq. Bu esa madaniyatlararo yaqin aloqani mustahkamlash, tildan faqat aloqa vositasi sifatida emas, ulkan ahamiyatga ega almashinuv, o\u02bbzaro idrok va ma\u02bcrifatning muhim omili deb qarashni talab qiladi.<\/span><\/p>\n

\u201cBiron muayyan tilda so\u02bbzlashuvchi xalqning tilini u yashaydigan shart-sharoitlar, milliy o\u02bbzlik tamoyillarisiz tushunib bo\u02bblmaydi\u201d [1].<\/span><\/p>\n

A.E.Sepirning fikricha esa, tilshunoslar til sohasiga daxldor antropologik, ijtimoiy va psixolingvistik masalalarni yanada ko\u02bbproq va chuqurroq o\u02bbrganishi talab etiladi [2].<\/span><\/p>\n

Tilshunoslik tilning standart tomonlarini yoki inson nutqining shakliy jihatini tadqiq qilsa, adabiyotshunoslik esa bu tilda san\u02bcatkorona aytilgan, yozilgan nutqni, asarlarni mohiyatan va mazmunan o\u02bbrganadi. Bugungi kun filologiyasida lingvopoetik xususiyatlar, elementlar degan tushuncha paydo bo\u02bbldiki, bu insonning ruhiyati, ijtimoiy-siyosiy muammolar va ko\u02bbplab boshqa murakkab insoniy his va sezgilar fonida asarni tushunishni ta\u02bcminlab bermoqda.<\/span><\/p>\n

Arab madaniyatining dunyo sivilizatsiyasi va tarixidagi o\u02bbrni haqida juda ko\u02bbp gapirilgan, ilmiy sharhlar berilgan, tadqiqotlar amalga oshirilgan. Biroq bugun, kundan-kunga shiddat bilan rivojlanib borayotgan axborotlar almashinuvi, yangi-yangi qulayliklarni taqdim etayotgan texnologiyalar asrida har qanday adabiy merosga bundan 20-30 yillar avval qaralgan nigoh bilan qarash ham eskirgandek tuyuladi.<\/span><\/p>\n

Boshqa tilda yozilgan meros bilan tanishar ekanmiz, bir-biriga o\u02bbxshamagan milliy madaniyat, tarix, sivilizatsiya va til tafovutining tor va nozik ko\u02bbprigidan o\u02bbtishga, bunda muayyan xalqning an\u02bcanasi, diniy madaniyati, tarixiy va ma\u02bcnaviy merosi va milliy mentaliteti kabi maxsus qirralarining tildagi aksini anglashga to\u02bbg\u02bbri keladi. Adabiy merosga aynan bu nazar bilan qarash bugungi globallashayotgan dunyo adabiyotshunosligining dolzarb masalasi hisoblanadi.<\/span><\/p>\n

Arab xalqi islomgacha ham o\u02bbzining tilga, xususan, so\u02bbz san\u02bcatiga mehri bilan ajralib turgan. Buning isboti bu xalq tilning imkoniyatidan taraqqiyotning ilk davridayoq keng foydalana olganidan dalolat beruvchi ko\u02bbplab manbalarning mavjud bo\u02bblgani haqidagi ma\u02bclumotlar aks etgan tarixiy qaydnomalardir. Arab xalq og\u02bbzaki ijodi namunalari, xususan, arab xalqining tug\u02bbma mental \u2013 genetik xususiyatlari asosida ming yillar davomida shakllangan va yuksalgan so\u02bbz san\u02bcatining an\u02bcanalari ham bu qadim madaniyatni chuqur anglash uchun alohida tadqiqotni talab etadi.<\/span><\/p>\n

Arab adabiyotida xitoba qadimiy nasriy janr hisoblanadi va u tarixning ma\u02bclum davrida arab adabiyotida yetakchi maqomga ega bo\u02bblgan. Xitoba atamasi turli manbalarda turlicha tushunchalarni ifodalash uchun qo\u02bbllanilgan.<\/span><\/p>\n

Arablarning islomdan avvalgi va keyingi turmushida ham xitobaning nufuzi baland bo\u02bblib, uning muayyan siyosiy, ijtimoiy va diniy vazifalari bor edi. Xitoba alohida nutqiy janr sifatida jangchilarni jangga ruhlantirar, fuqarolik va jinoiy ishlarda qonunni ustuvor qilar, o\u02bblim yaqinlashuvidan ogohlantirar va taqvo bilan hayot kechirishning muhimligini uqtirar, islom deb atalgan yangi dinga da\u02bcvat etar edi.<\/span><\/p>\n

Bundan tashqari ilk xitobalarning keyingi davr adabiyoti, xususan, nasr rivojiga ulkan ta\u02bcsir ko\u02bbrsatganini ham inkor etib bo\u02bblmaydi: \u201cBir asrdan oshiqroq vaqt davomida xitoba o\u02bbzining ma\u02bcnaviy va dunyoviy ta\u02bcsiri bilan arab adabiyotining yuksak nasriy janri sifatida Qur\u02bcon va uning mo\u02bbjizaviy nufuzi bilan yonma-yon holda arab adabiyotida yetakchilik qildi\u201d [3].<\/span><\/p>\n

Ma\u02bclumki, xitobalar arablarning qadim adabiyotidan darak beruvchi ilk ikki adabiy tur \u2013 she\u02bcriyat va nasrga nisbatan ko\u02bbproq hajmda hozirgi kungacha yetib kelgan. Ehtimol, xuddi shu omil qadim arab she\u02bcriyatining ayni davr arab adabiy nasridan ko\u02bbra ko\u02bbproq, har tomonlama puxta tadqiq qilinishiga sabab bo\u02bblgandir. Ammo \u201cbizda xitobaning johiliyat davri arablarining turli majlis-yig\u02bbinlarida she\u02bcr kabi keng qo\u02bbllangani, uning she\u02bcrdan baland maqomda bo\u02bblgani haqida ma\u02bclumot yo\u02bbq\u201d [4].<\/span><\/p>\n

Bu maqoladan maqsadimiz xitoba janri arablarning ijtimoiy, siyosiy, maishiy yoki ma\u02bcnaviy hayotida qanchalik muhim ahamiyat kasb etganini, uning tarixiga oid faktlarni keltirish emas. Maqsadimiz qadimgi arablarning hayotida islomgacha ham mavjud bo\u02bblgan, dunyo tarixida o\u02bbziga xos o\u02bbrin tutgan arab madaniyati, arab adabiyotiga yaqindan ta\u02bcsir ko\u02bbrsatgan arab xalq og\u02bbzaki ijodining eng mashhur ko\u02bbrinishi \u2013 arab notiqlarining nutqlarini bugungi kitobxonning ko\u02bbz o\u02bbngida aynan o\u02bbsha qadimiy voqelik, ijtimoiy-siyosiy jarayonlar asosida talqin qilish va sharhlashdir.<\/span><\/p>\n

Aksam bin Sayfi at-Tamimiy \u201dhakim ul-arab\u201d yoki \u201carablarning donishmandi\u201d laqabi bilan mashhur fasohatli, buyuk arab notig\u02bbi, tarixiy shaxs. Unga nisbat qilinadigan ko\u02bbplab hikmatlar, maqollar va xitobalar juda ko\u02bbp qadimiy arab manbalarida keltiriladi. Aksam bin Sayfi hatto islom payg\u02bbambarining kelishini oldindan bashorat qilganlardan biri bo\u02bblgani, qavmini birinchilardan bo\u02bblib islom diniga da\u02bcvat etgani va Rasululloh (S.A.V) bilan uchrashish uchun ketayotganida yo\u02bblda vafot etgani ham aytiladi [5]. Aksam bin Sayfi arablarning eng obro\u02bbli va nufuzli kishisi bo\u02bblgani sabab, u islomgacha bo\u02bblgan davrda yashagan podshoh Amr bin Hindning ukasi vafot etganda, uning saroyiga borib hamdardlik bildirgan va quyidagi xitobani aytgan [6]:<\/span><\/p>\n

\u201c\u0625\u0646 \u0623\u0647\u0644 \u0647\u0630\u0647 \u0627\u0644\u062f\u0627\u0631 \u0633\u0641\u0631 \u0644\u0627 \u064a\u062d\u0648\u0644\u0648\u0646 \u0639\u0642\u062f \u0627\u0644\u0631\u062d\u0627\u0644 \u0625\u0644\u0627 \u0641\u064a \u063a\u064a\u0631\u0647\u0627\u02bc \u0648 \u0642\u062f \u0623\u062a\u0627\u0643 \u0645\u0627 \u0644\u064a\u0633 \u0628\u0645\u0631\u062f\u0648\u062f \u0639\u0646\u0643\u02bc \u0648\u0627\u0631\u062a\u062d\u0644 \u0639\u0646\u0643 \u0645\u0627 \u0644\u064a\u0633 \u0628\u0631\u0627\u062c\u0639 \u0625\u0644\u064a\u0643\u02bc \u0648\u0623\u0642\u0627\u0645 \u0645\u0639\u0643 \u0645\u0646 \u0633\u064a\u0638\u0639\u0646 \u0639\u0646\u0643 \u0648\u064a\u062f\u0639\u0643\u02bc \u0648 \u0627\u0639\u0644\u0645 \u0623\u0646 \u0627\u0644\u062f\u0646\u064a\u0627 \u062b\u0644\u0627\u062b\u0629 \u0623\u064a\u0627\u0645\u02bc \u0641\u0623\u0645\u0633 \u0639\u0638\u0629 \u0648 \u0634\u0627\u0647\u062f \u0639\u062f\u0644\u02bc \u0641\u062c\u0639\u0643 \u0628\u0646\u0641\u0633\u0647\u02bc \u0648 \u0623\u0628\u0642\u064a \u0644\u0643 \u0648 \u0639\u0644\u064a\u0643 \u062d\u0643\u0645\u062a\u0647\u02bc\u0648 \u0627\u0644\u064a\u0648\u0645 \u063a\u0646\u064a\u0645\u0629\u02bc \u0648 \u0635\u062f\u064a\u0642 \u0623\u062a\u0627\u0643 \u0648 \u0644\u0645 \u062a\u0623\u062a\u0647\u02bc \u0637\u0627\u0644\u062a \u0639\u0644\u064a\u0643 \u063a\u064a\u0628\u062a\u0647\u02bc \u0648 \u0633\u062a\u0633\u0631\u0639 \u0639\u0646\u0643 \u0631\u062d\u0644\u062a\u0647\u02bc \u0648 \u063a\u062f \u0644\u0627 \u062a\u062f\u0631\u064a \u0645\u0646 \u0623\u0647\u0644\u0647\u02bc \u0633\u064a\u0623\u062a\u064a\u0643 \u0625\u0646 \u0648\u062c\u062f\u0643\u02bc\u0641\u0645\u0627 \u0623\u062d\u0633\u0646 \u0627\u0644\u0634\u0643\u0631 \u0644\u0644\u0645\u0646\u0639\u0645\u02bc \u0648 \u0627\u0644\u062a\u0633\u0644\u064a\u0645 \u0644\u0644\u0642\u0627\u062f\u0631\u02bc \u0648 \u0642\u062f \u0645\u0636\u062a \u0644\u0646\u0627 \u0623\u0635\u0648\u0644 \u0646\u062d\u0646 \u0641\u0631\u0648\u0639\u0647\u0627\u02bc \u0641\u0645\u0627 \u0628\u0642\u0627\u0621 \u0627\u0644\u0641\u0631\u0648\u0639 \u0628\u0639\u062f \u0623\u0635\u0648\u0644\u0647\u0627\u02bc \u0648 \u0627\u0639\u0644\u0645 \u0623\u0646 \u0623\u0638\u0645 \u0645\u0646 \u0627\u0644\u0645\u0635\u064a\u0628\u0629 \u0633\u0648\u0621\u00a0 \u0627\u0644\u062e\u0644\u0641 \u0645\u0646\u0647\u0627\u02bc \u0648 \u062e\u064a\u0631 \u0645\u0646 \u0627\u0644\u062e\u064a\u0631 \u0645\u0639\u0637\u064a\u0647\u02bc \u0648 \u0634\u0631 \u0645\u0646 \u0627\u0644\u0634\u0631 \u0641\u0627\u0639\u0644\u0647\u201d<\/strong><\/span><\/p>\n

\u201cDarhaqiqat, bu uy ahli musofirlardir, ular faqat ketish bitiminigina o\u02bbzlari istagandek tuza olmaslar, u(bitim) sendan so\u02bbramay keldi va sendan olganini qaytarmaydigan bo\u02bblib olib ketdi, sening yoningda hademay sendan ketadiganlar va seni qoldirib ketadiganlar qoldi. Bilgilki, bu dunyo uch kundir: Kechagi kun saboqdir, haqiqatni ko\u02bbrgan shohiddir, u senga fojia olib keldi. Sen uchun o\u02bbz hikmatini qoldirdi. Bugun g\u02bbanimatdir, u senga do\u02bbst bo\u02bblib keldi,sen uchun u hali uzoq ketmagandi. (Biroq) u (ham) sendan ketishga shoshiladi. Ertangi kun: Sen\u00a0 uning ahli kim bo\u02bblishini bilolmaysan, u faqat seni topa olsagina keladi. Eng yaxshi narsa esa Ne\u02bcmatlar beruvchiga shukr qilish va Qodirga taslim bo\u02bblishdir. Qancha ajdodlar o\u02bbtdi, biz ularning davomchilarimiz, ulardan keyingilarga avlod bo\u02bblib, bizdan keyingilar uchun ajdodmiz. Bilgilki, eng ulkan musibat (ulardan) keyin yomonlik qolishidir, eng a\u02bclo yaxshilik (esa) uni ulashishdir, eng yomon yovuzlik (esa) uni amalga oshirishdir .\u201d<\/em><\/span><\/p>\n

Bu qisqagina xitoba buyuk daholarni ham o\u02bbylantirgan va hamisha javobi birday bo\u02bblgan \u2013 judolik. Aksam bin Sayfi ukasidan ajralgan shohga hamdardlik bildirar ekan, bu dunyoning o\u02bbtkinchi ekanini, hatto shohlar ham o\u02bblim oldida ojiz ekanini, insonning o\u02bblimdan boshqa barcha narsani o\u02bbzi xohlaganidek qila olishi mumkinligini juda chuqur falsafiy mushohada bilan tasvirlaydi. Insonning bu dunyoda omonat ekani, hatto ayni paytda shohning oldida qolganlar, birga istiqomat qilganlar ham kelajakda albatta ketishlariga, dunyoni tark etishlariga ishora qiladi. Donishmand dunyoning uch kunligini shu qadar aniq, qisqa va teran mulohaza bilan ta\u02bcriflaydiki, beixtiyor uning daholigiga yana tahsin o\u02bbqiymiz:<\/span><\/p>\n

\u201cKechagi kun saboqdir, haqiqatni ko\u02bbrgan shohiddir, u senga fojia olib keldi. Sen uchun o\u02bbz hikmatini qoldirdi\u201d. Kecha bu \u2013 o\u02bbtmish, ya\u02bcni, unda nima sodir bo\u02bblgan bo\u02bblsa haqiqat. Haqiqat shuki, u sen (shoh) uchun og\u02bbir kulfat keltirdi, eng aziz kishingni yo\u02bbqotding. Ammo bilginki, o\u02bbtmish, ya\u02bcni, \u201ckecha\u201d sen uchun\u00a0 saboq olishing uchun\u00a0 o\u02bbz hikmatini qoldirdi.<\/span><\/p>\n

\u201cBugun g\u02bbanimatdir, sen emas uning oldiga borgan \u2013 balki \u201cbugun\u201dning o\u02bbzi senga \u201cdo\u02bbst\u201d bo\u02bblib keldi, sen uchun u hali uzoq ketmagandi. (Biroq) u (ham) sendan ketishga shoshiladi\u201d.<\/span><\/p>\n

\u00a0Bugun sen erishishing, qo\u02bblga kiritishing mumkin bo\u02bblgan eng haqqoniy o\u02bblja, boylik va uning o\u02bbzi do\u02bbst sifatida oldingga keldi. Biroq sen (ey shoh!) bugun (yoningdaligida) tez orada o\u02bbtmishga aylanishini anglamay, uning qadriga yetmading, holbuki,\u201cbugun\u201d \u2013 \u201cdo\u02bbst\u201d ham sendan tezlik bilan shoshilib-shoshilib ketadi.<\/span><\/p>\n

\u201cErtangi kun, sen uning ahli kim bo\u02bblishini bilolmaysan, u faqat seni topa olsagina, senga keladi.\u201d<\/span><\/p>\n

Ertangi kun hali kelmagan, qanday suratda, kim bilan, sen buni idrok eta olmaysan, uning senga yetishi ham noma\u02bclum. Agar sen unga yetsang (holbuki ketish va kelish sen shoh bo\u02bblsang-da, sening qo\u02bblingda emas) yoki ertangi kun seni topa olsagina\u00a0 \u201certa\u201d sen bilan uchrashadi.<\/span><\/p>\n

Dunyoning qonuniyati shudir, endi uning izmiga ko\u02bbnmay iloj yo\u02bbq va qalbingni og\u02bbir qayg\u02bbu va alam parchalaganida eng yaxshi narsa \u2013 bu \u201cNe\u02bcmatlar beruvchiga shukr qilish va Qodirga taslim bo\u02bblishdir\u201d. Bu islom dini hali kelmay turib, islomiy fikrlaydigan donishmandning so\u02bbzlari. Johiliyat zamonida bu buyuk alloma: \u201cTiriklikni, tirik bo\u02bblish uchun zarur barcha narsalarni Mun\u02bcim \u2013 ne\u02bcmatlar ato etuvchi berishini va eng yaxshi yo\u02bbl Unga shukr qilmoq, Uning \u2013 Qo\u02bblidan barcha ish keluvchi Qodirning O\u02bbziga o\u02bbzni topshirmoq, Unga qarshiliksiz bo\u02bbyinsunmoq, taslim bo\u02bblmoq\u201d ekanini e\u02bctirof etadi. Chunki bu dunyo qonuniyati Mun\u02bcim, Qodirning xohishidir. Bizgacha ham shunday bo\u02bblgan va bizdan so\u02bbng ham shunday bo\u02bbladi, deydi.<\/span><\/p>\n

Tiriklik halqasining davomiyligini o\u02bbsha qadim zamonlarda ham xuddi hozirgi ilm-fan natijalaridagi kabi izohlaydi: \u201cQancha ajdodlar o\u02bbtdi, biz ularning davomchilarimiz, ulardan keyingilarning avlodimiz, bizdan keyingilar uchun ajdodmiz.\u201d<\/span><\/p>\n

Donishmand Aksam bin Sayfi shu bilan shohga hamdardligini izhor etishni to\u02bbxtatishi ham mumkin edi, biroq u ana shunday foniy dunyoda boqiy qolish sirini ham shohga ochadi:\u00a0 \u201cBilgilki, eng ulkan musibat (ulardan) keyin yomonlik qolishidir, eng a\u02bclo yaxshilik (esa) uni ulashishdir, eng yomon yovuzlik (esa) uni amalga oshirishdir\u201d.<\/span><\/p>\n

Ya\u02bcni, biz ana shunday uzluksiz davom etadigan ajdodlar va avlodlar zanjirining birgina halqasimiz, bizdan avvalgilar uchun avlod bo\u02bbldik, bizdan keyingilar uchun ajdodga aylanamiz. Dunyodagi eng yomon musibat \u2013 inson o\u02bbtib ketgach, uning orqasida yomonlik qolishidir. Va undan ham yomonroq ish esa \u2013 o\u02bbsha yomonlikni amalga oshiruvchilardan bo\u02bblishlikdir; ammo dunyoda \u201cbaqo ul-furu\u02bc\u201d \u2013 \u201cboqiy avlod\u201d bo\u02bblish ham mumkin. Bu o\u02bbzidan keyin yaxshilik qoldirishdir.<\/span><\/p>\n

Endi bu xitobaning poetik yoki badiiy jihatlarini tahlil qilamiz.\u00a0 Shu o\u02bbrinda yana mashhur adabiyotshunoslardan birining fikriga tayanamiz: \u201cHar qanday adabiy asar o\u02bbzi mavjud bo\u02bblgan voqelik ta\u02bcsiri ostida yaratiladi va bu voqelik muallifning shaxsi, uning biografik tarixiy vaziyatlari, o\u02bbz davrining adabiyoti va uning taraqqiyoti bilan belgilanadi\u201d [7].<\/span><\/p>\n

Aytish joizki, olim aytganidek muallifning asariga u yashagan ijtimoiy voqelikdan kelib chiqib baho beradigan bo\u02bblsak, Aksam bin Sayfining chuqur ma\u02bcnoli xitobasini eshituvchilar ham qay ma\u02bcnoda uning bu fikrini ifoda etish uchun tanlagan so\u02bbzlarining ma\u02bcnosini yaxshi tushuna olgan, ayni xutba aytilgan shoh saroyi va uning amaldorlari ham, ehtimolki, bunday xutbani eshitishga loyiq insonlar bo\u02bblgan. Xutbada Aksam bin Sayfi tanlagan badiiy san\u02bcat o\u02bbsha davrning odamlari uchun an\u02bcanaga aylangan chunki uni eshitish yoqimli va xotirada tez qoladigan bo\u02bblgan.<\/span><\/p>\n

Al-Iskandariy yozadi: \u201cArablar johiliyatda so\u02bbzni ko\u02bbproq o\u02bbzining asl ma\u02bcnosida, vaziyatga mos tarzda ishlatar edi. Keyinchalik so\u02bbzning ma\u02bcnosini ko\u02bbchirib ishlata boshladi va u yangi ifoda \u2013 majozga aylandi. Biroq, majoz bilan\u00a0 asl ma\u02bcno o\u02bbrtasida albatta kuchli aloqadorlik saqlanishi kerak. Johiliyatda arablar juda ko\u02bbp ma\u02bcnodosh-sinonim so\u02bbzlar ishlatar edi\u201d [4].<\/span><\/p>\n

Mazmun va shakl uyg\u02bbunligi, bu azaldan adabiyotshunoslikning eng asosiy va bosh mavzusi bo\u02bblib kelgan. Biroq \u201cO\u02bbrta asr adabiyoti nazariyasiga ko\u02bbra ko\u02bbplab hozirgi zamon olimlarining arab mumtoz she\u02bcriyatida shakl mazmundan ko\u02bbra ko\u02bbproq va muhimroq o\u02bbrinda turgan. Shu sababli ham O\u02bbrta asr olimlari shaklning nufuzini orttirib mazmunning ahamiyatini pasaytirgan\u201d [8]. Arabshunos olimning bu fikri butun arab adabiyotiga, xususan, biz tahlil qilayotgan johiliyat xutbasiga ham aloqador desak, u holda olim tilga olgan\u00a0 hozirgi zamon olimlarining fikrida yanglishish borligini his qilamiz, negaki bu xitoba shakl va mazmunning buyuk uyg\u02bbunligini namoyon etadi.<\/span><\/p>\n

Aksam bin Sayfi bu xitobasida bu dunyoni \u201c\u062f\u0627\u0631\u201d \u2013 uy, butun insoniyatni \u201c \u0623\u0647\u0644 \u0647\u0630\u0647 \u0627\u0644\u062f\u0627\u0631\u201d \u2013\u00a0 \u201cbu uyda yashovchilar\u201d deyishi bilan mubolag\u02bbani kichraytirish shakli tafritni ishlatadi [9]. Aksam bin Sayfi xitoba aytilayotgan vaziyatga mos ravishda mubolag\u02bbaning bu turini tanlaydi, bunga sabab esa: Dunyoni cheksiz, chegarasiz, unda yashovchilarni har xil deb tasavvur qilishdan ko\u02bbra, odamlar bir uyning ichida birga yashovchilardir deb tushuntirish, qolaversa, ularning barchasi \u201c\u0633\u0641\u0631\u201d \u2013 musofirdir, degan tasavvur uyg\u02bbotish insonga ancha taskin berishi va butun dunyo aholisini bir uy a\u02bczolari, bir xil qonunlarga ko\u02bbra yashaydi deb bilishi qayg\u02bbusini bir oz unutishiga yordam berishidir.<\/span><\/p>\n

\u201c\u0644\u0627 \u064a\u062d\u0648\u0644\u0648\u0646 \u0639\u0642\u062f \u0627\u0644\u0631\u062d\u0627\u0644 \u0625\u0644\u0627 \u0641\u064a \u063a\u064a\u0631\u0647\u0627\u201d \u2013\u00a0 \u201cketish bitiminigina o\u02bbzlari istagandek tuza olmaslar\u201d degan jumlada xatib ajoyib metaforani ishlatadi. Shu o\u02bbrinda metaforaga berilgan ta\u02bcrifni esga olamiz. Metafora (yun. metaphora \u2013 ko\u02bbchirish) \u2013 ma\u02bcno ko\u02bbchishining keng tarqalgan turlaridan, narsa va hodisalarning orasidagi o\u02bbxshashlikka asoslanuvchi ko\u02bbchim turi, trop. Mohiyatan yashirin o\u02bbxshatish bo\u02bblib, unda o\u02bbxshatilayotgan narsa tilga olinmagani holda, uning ma\u02bcnosini o\u02bbxshayotgan narsa (ya\u02bcni uni ifodalayotgan so\u02bbz) bildiradi [9:169].<\/span><\/p>\n

\u201c \u0639\u0642\u062f\u201d arab tilida bitim kelishuv, shartnoma ma\u02bcnolarini anglatadi. Ya\u02bcni, inson o\u02bbzi bilmagan holda Xoliq bilan ketish bitimini tuzib, bu dunyoga keladi. Shu sabab \u201co\u02bblim\u201d so\u02bbzi o\u02bbrniga donishmand izhori yo\u02bbllanayotgan shaxs oddiy odam emas, balki o\u02bbz mamlakati va hududida o\u02bbzi istagan har qanday \u201ckelishuvga\u201d erishishga qodir shoh ekanini hisobga olgan holda, \u201cketish bitimi\u201d shohlar uchun ham birdek ekaniga urg\u02bbu bermoqchi bo\u02bbladi. Qolaversa, uni o\u02bbzining keyingi fikrlarini eshitishga tayyorlash maqsadida bunday metaforani qo\u02bbllaydi. Keyingi fikrlarini ifodalar ekan, endi hakim yana ham kuchliroq mubolag\u02bbani ishlatadi \u201c \u0627\u0644\u062f\u0646\u064a\u0627 \u062b\u0644\u0627\u062b\u0629 \u0627\u064a\u0627\u0645\u201d \u2013 \u201cdunyo-uch kundir\u201d. Bu mubolag\u02bbadan maqsad umrning juda ham tez o\u02bbtib ketishini ta\u02bckidlashdir. Keyingi jumlalarda Aksam bin Sayfi kecha \u2013 o\u02bbtgan vaqt ta\u02bcrifiga nisbatan juda yuksak jonlantirish san\u02bcatini qo\u02bbllaydi:\u201d \u0634\u0627\u0647\u062f \u0639\u062f\u0644\u02bc \u0641\u062c\u0639\u0643 \u0628\u0646\u0641\u0633\u0647\u02bc \u0648 \u0623\u0628\u0642\u0649 \u0644\u0643 \u0648 \u0639\u0644\u064a\u0643 \u062d\u0643\u0645\u062a\u0647 \u201d \u2013\u00a0 \u201cHaqiqat shohiddir, seni og\u02bbir kulfatga giriftor qildi. Sen uchun o\u02bbz hikmatini qoldirdi\u201d. Bunday harakatlar yuksak aql va tafakkur sohibiga xos ta\u02bcrifdir.<\/span><\/p>\n

\u201cBugunni\u201d tasvirlar ekan notiq uni \u201ckechagi\u201d kunning ta\u02bcrifidan iliqroq jonlantirish: \u201d \u0635\u062f\u064a\u0642 \u0623\u062a\u0627\u0643 \u0648 \u0644\u0645 \u062a\u0623\u062a\u0647\u02bc \u0637\u0627\u0644\u062a \u0639\u0644\u064a\u0643 \u063a\u064a\u0628\u062a\u0647\u02bc \u0648 \u0633\u062a\u0633\u0631\u0639 \u0639\u0646\u0643 \u0631\u062d\u0644\u062a\u0647\u201d \u2013 ya\u02bcni, sen(shoh)ning oldiga o\u02bbzi kelgan do\u02bbst\u201d qiyofasida gavdalantiradi. Biroq do\u02bbstning yoningda bo\u02bblishi uzoq davom etadi deb o\u02bbylading, ammo u ham tez ketishini anglamaysan\u201d, deydi notiq. Bugun uchun berilgan bunday ta\u02bcrif, darhaqiqat, teranlik, daholik. Go\u02bbyoki insoniyat bugunning qadriga yetmaganidan, uning o\u02bbzi do\u02bbst bo\u02bblib kelganida, kechagi kun o\u02bbtmishga aylanib bergan sabog\u02bbidan to\u02bbg\u02bbri xulosa chiqarmaydi, bugunning tez ketishini payqamaydi, bundan esa \u201cbugun\u201d \u2013 \u201cdo\u02bbst\u201dning qalbi og\u02bbriydi va u ham tez ketishga shoshadi.<\/span><\/p>\n

\u201cErtangi kun\u201dga berilgan ta\u02bcrif insonni bir oz o\u02bbylantiradi, qo\u02bbrquvga soladi \u2013 \u201d\u0648 \u063a\u062f \u0644\u0627 \u062a\u062f\u0631\u064a \u0645\u0646 \u0623\u0647\u0644\u0647\u02bc \u0633\u064a\u0623\u062a\u064a\u0643 \u0625\u0646 \u0648\u062c\u062f\u0643 \u201c \u2013 ertangi kun seni topsagina senga keladi, topmasligi ham mumkin. Erta sen uchun mavhumlik: Kim bilan bir uyda qolasan? Sen bilan qoladiganlar kim? \u2013 bular javobsiz savollar. Bu jonlantirish\u00a0 insoniyatning muqarrar xavotiri va ana shunday qo\u02bbrquv oldini olish uchun tayyorgarlik ko\u02bbrishi kerakligi uchun da\u02bcvat bo\u02bblib yangraydi.<\/span><\/p>\n

Xitobada yana parallelizm ham samarali ishlatiladi:\u00a0 \u201c \u0641\u0645\u0627 \u0623\u062d\u0633\u0646 \u0627\u0644\u0634\u0643\u0631 \u0644\u0644\u0645\u0646\u0639\u0645\u02bc \u0648 \u0627\u0644\u062a\u0633\u0644\u064a\u0645 \u0644\u0644\u0642\u0627\u062f\u0631 \u2013 Eng yaxshi narsa Mun\u02bcimga shukr qilish va Qodirga taslim bo\u02bblishdir.<\/span><\/p>\n

\u201d \u0648 \u0642\u062f \u0645\u0636\u062a \u0644\u0646\u0627 \u0623\u0635\u0648\u0644 \u0646\u062d\u0646 \u0641\u0631\u0648\u0639\u0647\u0627\u02bc \u0641\u0645\u0627 \u0628\u0642\u0627\u0621 \u0627\u0644\u0641\u0631\u0648\u0639 \u0628\u0639\u062f \u0623\u0635\u0648\u0644\u0647\u0627\u02bc \u0648 \u0627\u0639\u0644\u0645 \u0623\u0646 \u0623\u0638\u0645 \u0645\u0646 \u0627\u0644\u0645\u0635\u064a\u0628\u0629 \u0633\u0648\u0621\u00a0 \u0627\u0644\u062e\u0644\u0641 \u0645\u0646\u0647\u0627\u02bc \u0648 \u062e\u064a\u0631 \u0645\u0646 \u0627\u0644\u062e\u064a\u0631 \u0645\u0639\u0637\u064a\u0647\u02bc \u0648 \u0634\u0631 \u0645\u0646 \u0627\u0644\u0634\u0631 \u0641\u0627\u0639\u0644\u0647\u201d. Ya\u02bcni, inson uchun foniy dunyodagi eng yaxshi narsa \u2013 bu Ne\u02bcmatlar beruvchiga shukrdir. Va (bu shukr) Qodirga, uning taqdiriga bo\u02bbyinsunishdir\u2026\u201d<\/span><\/p>\n

Xuddi shunday arab notig\u02bbi tanosub (ar. daxldorlik, aloqadorlik) \u2013 mumtoz adabiyotdagi she\u02bcriy san\u02bcat, fikrni bir-biriga aloqador, ma\u02bcno jihatidan yaqin va o\u02bbzaro mutanosib tushunchalarni bildiruvchi so\u02bbzlar orqali ifodalash [9:310.] san\u02bcatini ishlatadi: \u201cBu uy ahli, musofir, ketish bitimi, keldi, u (bitim) sendan olganini qaytarmaydigan bo\u02bblib olib ketdi, yaqin kelajakda ketadiganlar va seni tark etadiganlar qoldi, sendan ketishga shoshadi\u201d, bu jumla va so\u02bbzlarning barchasi eshituvchining shuuriga dunyoning safar ekani va unda ketish muqarrar ekanini singdiradi.<\/span><\/p>\n

Aksam bin Sayfining bu xitobasi keltirilgan manbada uning arab shohi Amr bin Hindga ta\u02bcziya izhor qilib aytgani keltirilsa-da, Aksam bin Sayfi bunday fikrlari bilan go\u02bbyoki butun insoniyatga murojaat qilgandek, uni ming yillardan keyin eshituvchilar uchun ham pand-nasihat qilgandek tuyuladi.<\/span><\/p>\n

Xulosa sifatida shuni aytishimiz mumkinki, bu xitobada oradan 1500 yil o\u02bbtganiga qaramasdan bugungi kun adabiyotshunosligining eng yirik ikki tushunchasi shakl va mazmun bir-biriga xalal bermay, aksincha bir-birini to\u02bbldirgan holda asl insoniy, yuksak ma\u02bcnaviy va ruhiy hislarni ifoda etganiga guvoh bo\u02bblamiz. Shubha yo\u02bbqki, donishmand Aksam bin Sayfi bu nutqi bilan tinglovchilariga o\u02bbz davrining kishisi sifatida, nutq aytilgan vaziyat doirasida yetarlicha ta\u02bcsir o\u02bbtkaza olgan. Zero, badiiy asarda mazmun va shakl bir-biridan qolishmay uyg\u02bbunlikni aks ettirar ekan, bunday adabiyot hamisha o\u02bbz maqsadiga yetishi shubhasizdir.<\/span><\/p>\n

FOYDALANILGAN ADABIYOTLAR:<\/strong><\/span><\/div>\n
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    \u0627\u0644\u0648\u0633\u064a\u0637 \u0641\u064a \u0627\u0644\u0623\u062f\u0628 \u0627\u0644\u0639\u0631\u0628\u064a \u0648 \u062a\u0623\u0631\u064a\u062e\u0647\u02bc \u062a\u0623\u0644\u064a\u0641 \u0627\u0644\u0634\u064a\u062e \u0623\u062d\u0645\u062f \u0627\u0644\u0625\u0633\u0643\u0646\u062f\u0631\u064a \u0648 \u0627\u0644\u0634\u064a\u062e \u0645\u0635\u0637\u0641\u0649 \u0639\u0646\u0627\u0646\u064a\u02bc(1919)\u02bc\u06371\u02bc \u0645\u0637\u0628\u0639\u0629 \u0627\u0644\u0645\u0639\u0627\u0631\u0641 \u0628\u0634\u0627\u0631\u0639 \u0641\u062c\u0627\u0644\u0629\u02bc \u0645\u0635\u0631\u02bc\u063519..<\/span><\/div>\n<\/li>\n
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    \u0635\u0641\u0648\u062a \u02bc\u0623\u062d\u0645\u062f \u0632\u0643\u064a (1933) \u02bc\u062c\u0645\u0647\u0631\u0629 \u062e\u0637\u0628 \u0627\u0644\u0639\u0631\u0628 \u0641\u064a \u0627\u0644\u0639\u0635\u0648\u0631 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 \u0627\u0644\u0632\u0627\u0647\u0631\u0629\u02bc \u0627\u0644\u062c\u0632\u0621 1\u02bc \u0635.37 \u02bc\u0627\u0644\u0645\u0643\u062a\u0628\u0629 \u0627\u0644\u0639\u0644\u0645\u064a\u0629 \u02bc \u0627\u0644\u0642\u0627\u0647\u0631\u0629<\/span><\/div>\n<\/li>\n
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    Feruza DJURAYEVA,<\/strong><\/span><\/div>\n
    Al-Buxoriy universiteti Filologiya fakulteti<\/strong><\/span><\/div>\n
    \u201cSharq tillari\u201d kafedrasi dotsent v.b.,<\/strong><\/span><\/div>\n
    filologiya fanlari bo\u02bbyicha falsafa doktori (PhD)<\/strong><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"

    Insoniyat tamadduni bu yer yuzidagi turli xalqlar, millatlar, elatlarning milliy madaniy merosidan iborat yaxlit bir-butunlikdir. Bunda har bir milliylik o\u02bbz ranglari, jozibasi bilan butunlikni bezaydi, o\u02bbzining benazir o\u02bbrnini ko\u02bbz o\u02bbngimizda to\u02bbldirib turadi. Bugungi kunning ehtiyoji esa insoniyat taraqqiyotining yangi va yuksak bosqichiga yo\u02bbqotishsiz, xatolarsiz ko\u02bbtarilish ekan, bu jarayon aynan mana shu o\u02bbziga xoslikni tabiiy holda …<\/p>\n","protected":false},"author":1,"featured_media":22338,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[639],"tags":[],"yoast_head":"\nBADIIY TAFAKKUR YOG\u02bbDUSINI IZLAB: QADIM ARAB NOTIG\u02bbI XITOBASI MISOLIDA - Imom Buxoriy xalqaro ilmiy-tadqiqot markazi<\/title>\n<meta name=\"description\" content=\"BADIIY TAFAKKUR YOG\u02bbDUSINI IZLAB: QADIM ARAB NOTIG\u02bbI XITOBASI MISOLIDA\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bukhari.uz\/?p=22340&lang=oz\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"BADIIY TAFAKKUR YOG\u02bbDUSINI IZLAB: QADIM ARAB NOTIG\u02bbI XITOBASI MISOLIDA - 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