<\/p>\n
Abdulla A\u2019ZAM<\/strong><\/p>\n Falsafaning bosh muammosi<\/strong><\/p>\n Yaratganning eng buyuk mo\u02bbjizasi \u2013 inson. Albatta, umuman tabiat (borliq, materiya) \u2013 mo\u02bbjiza. Biroq tirik mavjudot \u2013 yana ham mo\u02bbjizaviyroq, inson esa \u2013 eng oliy mo\u02bbjiza.<\/p>\n Falsafa insonni ijtimoiy mavjudot sifatida o\u2018rganadi, ammo odatda uning tabiatidagi mo\u02bbjizaviylikni tadqiqot doirasiga kiritmaydi. Holbuki, ijtimoiylik boshqa jonzotlarda ham kuzatiladi.<\/p>\n Insonning boshqa mavjudotlardan, ayniqsa, jismonan unga eng yaqin odamsimon maymunlardan farqi nima? Bu savolning javobi mohiyatan \u201cinson nima (ya\u2019ni, qanday xilqat)?\u201d degan savol javobidan kelib chiqadi.<\/p>\n Faylasuflar bu savolga ming yillar davomida javob izlaganlar. Suqrotning \u201cO\u2018zingni angla!\u201d degan xitobi ostida ham aslida shu savol yotgan.<\/p>\n Eng buyuk faylasuflardan biri, deya e\u2019tirof etilmish Immanuil Kant ham mazkur savolga javob izlagan, \u201cFalsafaning asosiy uch muammosidan biri \u2013 inson mohiyatini anglash\u201d, degan xulosaga kelgan, uni hal qilish ustida shug\u2018ullangan, ammo qoniqarli yechim topa olmagan va e\u2019tiborini axloq falsafasiga qaratgan. Shuning uchundirki, umrining oxirlarida yozilib, aynan inson mohiyatiga bag\u2018ishlangan \u201cAntropologiya\u00adga pragmatik nuqtai nazar\u201d asari, boshqa asarlaridan farqli, mashhur emas.<\/p>\n Sobiq Sho\u2018ro davrining eng yirik professional faylasufi desa bo\u2018ladigan T.Oyzenberg (1914\u20132017) 2004 yili \u201c\u0412\u043e\u043f\u0440\u043e\u0441\u044b \u0444\u0438\u043b\u043e\u0441\u043e\u0444\u0438\u0438\u201d jurnaliga bergan intervyusida sovet faylasuflari \u201cMateriya birlamchimi yoki ong?\u201d degan sxolastik, sun\u2019iy tabiatli muammolarga, \u201cSosializmning kapitalizmdan afzalligi\u201d kabi amalda o\u2018zining tasdig\u2018ini topmagan masalalarga umrini sarflashganini afsus-nadomat bilan ta\u2019kidlab, falsafaning bosh masalasi \u201cInson nima?\u201d degan savolga javob izlash ekanini e\u2019tirof etgan edi. Yuz yoshdan ziyod yashagan bo\u2018lsa ham, yechim topolmay vafot etib ketdi. G\u02bbarbu Sharq mutafakkirlari hamon bu savolga javob izlamoqdalar.<\/p>\n Albatta, o\u2018tmishda ham, zamonamizda ham savolga javob topganday bo\u2018lganlar yo\u2018q emas. Ammo topilgan javoblar muammoni qoniqarli tarzda hal etmaganki, umuminsoniy tafakkur unsuriga aylanmagan. Holbuki, Alisher Navoiy bundan besh yuz yil avval:<\/p>\n \u2013 Inson nima?<\/em><\/p>\n \u2013 Odamning hayvondan qanday farqi bor?<\/em><\/p>\n \u2013 Odam odamdan nima bilan farq qiladi?<\/em><\/p>\n \u2013 Odam nima uchun dunyoga keladi?<\/em><\/p>\n \u2013 Odamning hayotidan nima ma\u2019no?<\/em><\/p>\n \u2013 Odam qanday yashashi kerak?<\/em><\/p>\n \u2013 Odam vafotidan so\u2018ng nima bo\u2018ladi?<\/em><\/p>\n degan fundamental savollarga javoblar topgan, javoblarni mukammal falsafiy ta\u2019limotga aylantirgan va \u201cHayratul-abror\u201d risolasida bayon qilgan.<\/p>\n To\u2018g\u2018ri, bu asar she\u2019r bilan yozilgan va shuning uchun doston deyiladi. Qadimgi Rim faylasufi Kar Lukresiyning \u201cNarsalar tabiati haqida\u201d risolasi she\u2019r bilan yozilgan, shunga qaramay, u badiiy asar emas, falsafiy risola deb qaraladi. Faxriddin Iroqiyning sof falsafiy asari \u201cLama\u2019ot\u201d ham Ibn al-Arabiyning \u201cFususul-hikam\u201d risolasining nazmdagi bayonidan iborat[2]. Albatta, nazmda yozilgan har qanday asar adabiyotga daxldor. Faqat bu o\u2018rinda bayonning shaklidan ko\u2018ra matnning mazmuniga ko\u2018proq e\u2019tibor qaratish maqsadga muvofiq.<\/p>\n Boshqa falsafiy ta\u2019limotlar singari, Navoiy falsafasi ham bir-ikki jumla bilan ifodalanadigan, osongina tushuntiriladigan nazariya emas. Uni izohlashni ildizlaridan boshlash, yo\u2018l-yo\u2018lakay u yoki bu bahona bilan asosiy mavzudan chekinishlar qilib borishga to\u2018g\u2018ri keladi.<\/p>\n Savol tug\u2018iladi: nima uchun Navoiyning falsafiy ta\u2019limoti dunyoga yoyilmay qoldi? Bosh sabab \u2013 Navoiyning patriotligida.<\/p>\n Navoiy fors va arab tillarini mukammal bilgan. O\u2018sha davrda ko\u2018plab buyuk forsiynavislar ijodiy merosi tufayli fors tili ulkan hududning adabiy tiliga aylangan. Bundan avval arab tili ilmu fan, ayniqsa \u201cQur\u2019on\u201d va hadis ilmining tili sifatida maktab va madrasalarda chuqur o\u2018rganilgan, Navoiy davrida ham bu tendensiya davom etgan, albatta. Navoiy Hirotda maktabda va Mashhadda madrasada egallagan arab tili bo\u2018yicha bilimini Samarqandda, bu tilning Abullays Samarqandiydek bilimdoni qo\u2018l ostida haddi a\u2019losiga yetkazgan. Bu shundan ham ko\u2018rinadiki, Navoiy qalamiga mansub \u201cSab\u2019atu abhur\u201d nomli qo\u2018lyozma mavjud bo\u2018lib, u 100 000 dan ziyod (!) arabcha so\u2018z va iboralar lug\u2018atidan iborat[4].<\/p>\n Shuning uchun Navoiy arab tilida ham bemalol ijod qilishi mumkin edi va bunda uning shuhrati nafaqat Sharqqa, G\u02bbarbga ham tez yoyilar edi. Xususan, uning asarlari XVI asrdayoq Yevropagacha yetib borardi \u2013 yevropaliklar arab tili bilan muayyan sabablarga ko\u2018ra juda erta \u2013 IX-X asrlardan tanisha boshlagan.<\/p>\n Navoiy fors tilida ijod qilganda ham XVIII asrdan Yevropada shuhrat qozonishi mumkin edi \u2013 shu davrdan fors adabiyoti vakillarining she\u2019r\u00adlaridan namunalar nemis tiliga tarjima qilina boshlagan. Nizomiydan to Jomiygacha. Ularni o\u2018qigan Gyote qattiq mutaassir bo\u2018lgan, havas bilan \u201cG\u02bbarbu Sharq devoni\u201d degan she\u2019rlar turkumini yaratgan.<\/p>\n Afsuski, nemis tiliga tarjima qilingan mualliflar safidan Navoiy tushib qolgan. Sababi \u2013 u shoh asarlarini ona tilida yozgani.<\/p>\n Gyote davrida shov-shuv bo\u2018lgan forsiynavis shoirlar she\u2019rlariga qiziqish undan keyingi G\u02bbarb faylasuflarida kuzatilmaydi. Buning sababi \u2013 she\u2019riyatga nazm muxlislari qiziqishi, faylasuflar esa e\u2019tibor beravermasligida. Holbuki, Sharq falsafasining ko\u2018plab g\u2018oyalari she\u2019riy asarlarda aks etgan. Sanoiy, Nizomiy, Attor, Rumiy, Sa\u2019diy va Jomiy shoirdan ko\u2018ra ko\u2018proq faylasuflardir: ularning ijodiy merosi shaklan she\u2019r, mazmunan ko\u2018proq falsafaga mansub. Chuqur falsafa. Gyote ham faylasuf shoir edi, shuning uchun tarjima qilingan g\u2018azallar va dos\u00adtonlarning parchalaridan Sharq falsafasi mohiyatini payqagan. Aynan shunga ko\u2018ra, \u201cG\u02bbarbu Sharq devoni\u201dda ham poeziyaga nisbatan falsafa ko\u2018proq. Biz hatto Gyoteni so\u2018nggi faylasuf-shoir deyishga moyilmiz. (Ta\u2019kidlaymizki, shoir-faylasuflar ko\u2018p).<\/p>\n Navoiy fors tilida ijod qilganida, Gyote uning asarlari, xususan, \u201cHayratul-abror\u201d bilan tanishar va Navoiyni ustoz deya tan olar edi, deb o\u2018ylaymiz. Zotan, dunyo tarixida Navoiy kabi ham falsafiy ta\u2019limot yaratgan va unga to\u2018liq amal qilgan mutafakkir bir nechta, xolos.<\/p>\n Xullas, Navoiy o\u2018z shon-shuhratidan ona tilining shon-shuhratini yuqori qo\u2018ydi va butun iste\u2019dodini asosan turk tili (o\u2018sha davr o\u2018zbek tili)ning mavqeini yuksaltirishga yo\u2018naltirdi. Hech shubhasiz, bunga muvaffaq bo\u2018lgan. Shuning uchun Navoiy \u201cInsoniyat tarixidagi birinchi ona tili patrioti\u201ddir[5].<\/p>\n Bugun dunyoning turkologiya ilmiy markazlarida shug\u2018ullanadigan olimlar Navoiy bilan tanishgach, uning muxlisiga aylanmoqda. Navoiyni o\u2018qimoqda, o\u2018rganmoqda. Navoiy dahosini e\u2019tirof etmoqda.<\/p>\n Shunga qaramay, Navoiyning falsafiy ta\u2019limoti o\u2018z qiymatiga yarasha tarqalyapti va baholanyapti, muhimi, insoniyat hayotiga yetarlicha ta\u2019sir o\u2018tkazyapti, deya olmaymiz. Buning sabablaridan biri \u2013 uning ta\u2019limoti asosan nazmiy asarlarida bayon qilingan bo\u2018lib, sifatli tarjima qilish qiyin, shuning uchun G\u02bbarbda ularni aslida o\u2018qib tushunadiganlarning soni juda oz.<\/p>\n Navoiyni chuqur o\u2018rgangan olim, qayerlik bo\u2018lmasin, uning jahon madaniyati tarixidagi o\u2018rnini yaxshi anglaydi. Bunga dalil sifatida atoqli navoiyshunos Ye.E.Bertels risolasidan bir parchani to\u2018liq tarjimada keltiramiz (Navoi. Izd-va AN SSSR, Moskva\u2013Leningrad, 1948, 78-81 ss.)<\/p>\n Yevropaliklarning Navoiy bilan tanishuvi anchayin o\u2018ziga xos tarzda yuz bergan. 1557 yili Venesiyada italyan tilida \u201cPeregrinaggio di tre giovani figliuoli del Re di Serendippo per opera di M(agistro) Christoforo Armeno della Persiana nell\u2019 Italiana lingua trapportato\u201d (Sarandip shohi uch o\u2018g\u2018lining ziyorati, armanistonlik j.(anob) Xristofor mehnati bilan pors tilidan italyan tiliga o\u2018girilgan\u201d) nomli juda g\u2018aroyib bir kitob nashr etilgan.<\/p>\n Bu kitob, chamasi, yevropaliklar o\u2018rtasida katta muvaffaqiyat qozongan bo\u2018lishi kerak, 1584 yildayoq uning ikkinchi nashri chop etilgan. U yana 1611, 1622 va 1628 yillarda ham nashr qilingan. Bu matn nemis tiliga tarjima uchun asos bo\u2018lgan: \u201cErste Theil Neuwer kurzweiliger Historien, in welchen Giaffers, des K\u00f6nigs zu Serendippo dreyer S\u00f6hne Reisz ganz artlich und lieblich beschrieben: Jetzt neuwlich aus Itali\u00e4nischer in Teutsche Sprach gebracht durch Johann Wetzeln, Burger zu Basel. Gedruckt zu Basel im jar (sic!) 1583\u201d (Sarandipdagi shoh Ja\u2019farning uch o\u2018g\u2018li to\u2018g\u2018risidagi yangi qiziqarli rivoyatlarning birinchi qismi, nafis va fasih bayon qilingan, bu safar Bazel grajdani Iohan Vetsel tomonidan italyanchadan nemischaga tarjima qilingan. 1583 y. Bazelda chop etildi).<\/p>\n Nemischa matn 1599 yili qayta bosilgan, so\u2018ng Leypsigda 1630 va 1723 yillarda qayta nashr etilgan.<\/p>\n 1719 yili bu kitobning fransuzchaga, 1766 yili gollandchaga tarjimasi chiqqan. Shunday qilib, 209 yil ichida kitob o\u2018n bir marta nashr etilgan: to\u2018rt marta XVI asrda, to\u2018rt marta XVII asrda va uch marta XIX asrda. Agar o\u2018sha asrlarda Yevropada chop etilgan kitoblar uncha ko\u2018p bo\u2018lmaganini hisobga olsak, qayta nashrlar va tarjimalar soni kitobning ulkan yutug\u2018idan dalolat beradi.<\/p>\n Kitobning muallifi kimligini aniqlashning imkoni yo\u2018q. Uning so\u2018zboshisidan muallif tabrizlik armani ekanligi ko\u2018rinadi, xolos. Bu fakt muayyan qiymatga ega, chunki Ozarbayjonda hozir ham \u201cpors\u201d tili deganda ba\u2019zan biz bugun tushunadigan fors tilini emas, balki ozarbayjon tilini tushunishadi, biz uchun odatiy ma\u2019noni esa \u201cfors\u201d tili deb berishadi. Shuning uchun lingua persiana iborasi bu hududda Xristofor tarjimasiga asos bo\u2018lgan kitob originalining tili haqidagi masalani hal etmaydi.<\/p>\n Asar ikki qismga bo\u2018linadi. Birinchisida Sarandip (Syeylon \u2013 hozirgi Shri Lanka) shohining uch o\u2018g\u2018li to\u2018g\u2018risida bo\u2018lib, shoh o\u2018g\u2018illarini dono va zehnli qilib tarbiyalashga intiladi. Ular voyaga yetgach, otasi ularni hayotiy tajriba qozonishi uchun sayohatga jo\u2018natadi. Ular Eronga borib qoladi. Kunlardan bir kun ular yo\u2018lda tuyasini yo\u2018qotgan odamga duch kelishadi. Egasining yo\u2018qolgan tuyani ko\u2018rgan-ko\u2018rmaganliklari to\u2018g\u2018risidagi savoliga shahzodalar shunday javob berishadi: tuyaning oyog\u2018i maymoq bo\u2018lgan, unga bir tomonda asal, bir tomonda may ortilgan, ustida homilador ayol o\u2018tirganmi? Tuya egasi bu qadar aniq tavsifni faqat tuyani ko\u2018rgan odamlargina berishi mumkin, degan xulosa chiqaradi, ammo shahzodalar tuyani ko\u2018rmaganini aytishadi. Shunda u shahzodalarni o\u2018g\u2018rilikda gumon qilib, qoziga olib boradi. Shu tariqa shahzodalar Eron shohi Bahrom Go\u2018rga ro\u2018baro\u2018 bo\u2018lishadi[6] va unga tuya to\u2018g\u2018risidagi tafsilotlarni qanday bilishgani tushuntirib berishadi. Bahrom ularning zehniga qoyil qolib, o\u2018z huzuriga mehmonga taklif qiladi. Bu yerda ular o\u2018zlarining qobiliyatini yana bir marta namoyon etishadi: dasturxondagi sharob tayyorlangan uzum qabristonda o\u2018sgani, so\u2018yilgan qo\u2018y itni emib katta bo\u2018lgani, Bahromning vaziri o\u2018z hukmdorini o\u2018ldirish qasdida yurganini aytib berishadi.<\/p>\n Bu ertak Sharqda keng tarqalgan, uning bir necha varianti bo\u2018lgan. Darvoqe, u Volterning \u201cZadiga\u201dsida ham bor. (Ertak Mark Tvenning \u201cTom Soyer xorijda\u201d kitobida ham deyarli o\u2018zgarishsiz takrorlangan.)<\/p>\n Kitobning ikkinchi qismi Bahrom Go\u2018rning o\u2018zi haqida hikoya qiladi. Shahzodalarning ko\u2018magida u vaziridan qutuladi. Bahrom shahzodalarni o\u2018z xizmatiga oladi. Xuddi shu vaqtda u o\u2018zi haydab yuborgan suyukli kanizagi Diloromni qo\u2018msay boshlagan va hafaqon kasaliga yo\u2018liqqan edi.<\/p>\n Shahzodalarning tavsiyasi bilan Bahrom ko\u2018ngil yozib, dardini yengillatishi uchun yettita qasr quriladi. Ammo bu naf bermaydi. Bahromni uyqusizlik qiynay boshlaydi, shu sababli har kuni kechqurun uning huzuriga bittadan sayyohni olib kelishadi va ular Bahromga rivoyat so\u2018zlashadi. Oltita rivoyatdan so\u2018ng, yettinchi sayyoh baxtiqaro Diloromning sarsongarchiligi haqida hikoya qiladi. Shu tariqa Bahrom uni topishga va yana diydoriga yetishga muyassar bo\u2018ladi.<\/p>\n Bu kitobni o\u2018rganishga maxsus tadqiqot bag\u2018ishlagan T. Benfey xulosaga keladi: kitobning ikkinchi qismi Nizomiyning mashhur \u201cHaft paykar\u201d (\u201cYetti go\u2018zal\u201d) dostonidan iborat, ammo Nizomiy (dostoni)dagi sharqqa xos syujetdagi shaklsizlik (tarjimonning) ulkan mahorati tufayli isloh qilinib, asarning mavzularini bir-biri bilan bog\u2018lovchi rivoyat vositasida yaxlit holga keltirilgan[7].<\/p>\n Tarjimaning bu jihati, deydi T. Benfey, \u201cverrath\u2026 occidentalische Compositionkunst\u201d (G\u02bbarb adabiyotiga xos kompozisiya san\u2019atini namoyon etadi). Yoki u yana bir farazni ilgari suradi: ein persisches Original, welches diese Sage soviel besser behandelt als Nizami (bu afsonani Nizomiyga nisbatan shu qadar afzal talqin qilgan forscha asli mavjud bo\u2018lgan).<\/p>\n Benfey bunday originalni topa olmagan. Holbuki, uni topish qiyin emas. Xristofor kitobining birinchi qismiga Amir Xusrav (Dehlaviy)ning \u201cHasht bihisht\u201d (\u201cSakkiz jannat\u201d) asari manba bo\u2018lgani shubhasiz \u2013 undagi novellalardan biri kitobning bu qismi bilan to\u2018liq ustma-ust tushadi. Bahrom va Dilorom tarixining talqinidan iborat ikkinchi qismga kelsak, u Navoiyning \u201cSab\u2019ai sayyor\u201d[8] (\u201cYetti sayyoh\u201d) asarida bor, boshqa hech bir kitobda esa uchramaydi. Shunday qilib, Xristofor o\u2018z kitobini ikki manba asosida bitgani oydinlashadi. Bunda Navoiy vafotidan roppa-rosa yuz yil o\u2018tib, uning dostoni Xristoforga ma\u2019lum bo\u2018lgani ko\u2018rinadi. Aslida ajablanishga hojat yo\u2018q. Navoiyning dostonlari beqiyos muvaffaqiyat qozongan. Ularning qo\u2018lyozmalari shoir hali hayotlik davridayoq Ozarbayjon[9] va Turkiyaga kirib kelgan va asrlar davomida kitobxonlar diqqatida bo\u2018lgan. Gruziyalik Sisishvilining \u201cYetti go\u2018zal\u201d dostonining manba\u2019i ham Nizomiyga emas, Navoiyga taalluqli \u2013 bu prof. Kekelizde tomonidan aniqlanib, B.T.Rudenko tomonidan qat\u2019iy isbotlandi.<\/p>\n Navoiyning Xristofor tomonidan qayta ishlangan dostoni, chamasi, yevropalik o\u2018quvchilarni nihoyatda rom etganki, bu qit\u2019aning beshta mamlakatida shu qadar uzoq yillar sevib o\u2018qilgan. Navoiy nomini tarjimon (ya\u2019ni Xristofor) biror o\u2018rinda ham zikr etmagan (ta\u2019kid bizniki \u2013 A.A.) Shu bois o\u2018quvchilar Sharqning qaysi adibi asaridan zavqlanayotanini bilishmagan. Ammo baribir fakt faktligicha qoladi: Navoiy ijodining mahsuliga yevropalik o\u2018quvchilar muxlis bo\u2018lgan.<\/p>\n Benfeyning yana bir iddaosi diqqatga molik. Bu \u2013 kompozision mahorat bobida Xristoforning Nizomiydan farqi. Chamasi, Benfey mukammal syujet Yevropadan boshqa biror joyda bo\u2018lishi mumkinligini hatto xayoliga ham keltirmagan. Biroq bu safar \u201cyevropalik\u201d Navoiy bo\u2018lib chiqyapti. Benfeyning ikkinchi farazi esa to\u2018g\u2018riroq edi: original haqiqatdan mavjud bo\u2018lgan, faqat u fors tilida emas, eski o\u2018zbek tilida yozilgan.<\/p>\n Y.E.Bertels so\u2018zlariga qo\u2018shimcha qilib, Xristofor dostonni nasrda tarjima qilganini ta\u2019kidlaymiz. Ya\u2019ni, Dehlaviy dostonidan bir hikoya va Navoiy dostonidan tuzilgan kitob Yevropadagi eng mashhur romanlardan biri bo\u2018lgan[10].<\/p>\n Y.E.Bertels \u201cSab\u2019ai sayyor\u201dning yana bir ustun jihatini qayd etgan. Nizomiy va Dehlaviyning Bahrom to\u2018g\u2018risidagi dostonlarida shohning ko\u2018nglini yozish uchun malikalar rivoyat so\u2018zlaydi. Navoiy bunday syujetni tanqid qilgan (fo\u2019ilotun mafo\u2019ilun fa\u2019ilun\/fa\u2019lun):<\/p>\n Yana bir bu|ki anda ba\u2019|zi ish<\/em><\/p>\n Zohiran no|munosabat | tushmish.<\/em><\/p>\n Buyla tuhmat|ki, ay-sh_uchun | Bahrom<\/em><\/p>\n Yasadi yet|ti qas-r sur|gali kom.<\/em><\/p>\n <\/p>\n Yetti iqli|m shohidin | yeti qiz<\/em><\/p>\n Har birin lut|fu husni g\u2018o|yatsiz,<\/em><\/p>\n <\/p>\n Yetti qasri | ichiga kel|turdi,<\/em><\/p>\n Ko-m har ku|ni bir bila | surdi.<\/em><\/p>\n <\/p>\n Turfa bukim, | chu bo\u2018ldi bo|daparast,<\/em><\/p>\n Qildi oqshom|g\u2018a tegru o\u2018z|ni mast.<\/em><\/p>\n <\/p>\n Uyqu komin | olurg\u2018a mas|tona<\/em><\/p>\n Sho\u2018-x-larg\u2018a | buyurdi af|sona.<\/em><\/p>\n <\/p>\n Bul ajabkim, | alar dag\u2018i | dedilar,<\/em><\/p>\n Qissaxon qiz|lari magar | edilar?<\/em><\/p>\n <\/p>\n Tongdi-n_oqshom|g\u2018a tegru pay|dar-pay<\/em><\/p>\n Ulki, ichgay | qadah to\u2018la|-to\u2018la may,<\/em><\/p>\n <\/p>\n A-nga xud g\u2018af|la-t_o\u2018ldi da\u2019|bu sifat,<\/em><\/p>\n Uyqusig\u2018a | fasona ne | hojat?<\/em><\/p>\n Bo\u2018lsa ham aq|l man-\u2019 qil|masmu?<\/em><\/p>\n Qissa aytur | kishi topil|masmu?<\/em><\/p>\n (Avvalgi dostonlardagi yana bir g\u2018alat nuqta shuki, ba\u2019zi voqealar hayotga nomutanosib tushgan. Aqlga sig\u2018maydigan ish \u2013 Bahrom aysh qilish uchun yettita qasr qurdirib, yetti iqlim shohidan yettita biri-biridan go\u2018zal qizni oldirib kelib, qasrlarga bittadan joylaydi va har kuni bittasi bilan ishrat qiladi. Shunisi ajablanarliki, mayparast bo\u2018lib, tongdan oqshomgacha mast bo\u2018ladi. Mast holida uxlash uchun go\u2018zallarga ertak so\u2018zlashga buyuradi. Ular ham ertak so\u2018zlab berishgani qiziq. Axir qissaxonlarning emas, shohlarning qizlari edi-ku?! Kun bo\u2018yi paydar-pay sharob ichib mastlik bilan g\u2018aflatga botgan odamning uxlashi uchun afsonaga na hojat? Hushi joyida bo\u2018lganda ham, aksincha, jim bo\u2018lishni buyurmasmidi? Yoki ertak eshitmoqchi bo\u2018lsa, kasbi qissaxon bo\u2018lgan odam topilmasmidi?) Shunday qilib, Y.E.Bertels Navoiyning \u201cSab\u2019ai sayyor\u201d dostoni boshqa \u201cXamsa\u201dlardagi uchinchi dostonlardan badiiy jihatdan yuksakroq ekanligini qat\u2019iy dalillagan.<\/p>\n Navoiy \u2013 maksimalist[11]<\/strong><\/p>\n Isaak Nyutondan \u201cSiz fandagi yuksak natijalarga qanday erishdingiz?\u201d deb so\u2018rashganda, u \u201cMen buyuklarning yelkasidan turib qaraganim uchun uzoqroqni ko\u2018ra oldim\u201d, deya javob bergan ekan. Alohida ta\u2019kidlaymiz: Nizomiy va Dehlaviy bo\u2018lganki, Navoiy ulardan yuksakroqqa ko\u2018tarilgan. Mana shu jihatdan ham uning \u201cXamsa\u201dsi Nizomiy, Dehlaviy kitoblari qatoridagi yana bir asar, asosiy xususiyati \u2013 turk tilida yozilgan, degan xulosa haqiqatni to\u2018g\u2018ri aks ettirmaydi.<\/p>\n Navoiy o\u2018z tabiatiga ko\u2018ra, eng yuksak \u201ccho\u2018qqi\u201dlarga intilgan, qaysi janrda ijod qilmasin, qaysi sohada faoliyat ko\u2018rsatmasin, maksimalizm prinsipi bilan yondashgan.<\/p>\n Navoiy yigitlik chog\u2018idayoq fors tilidagi \u201cXamsa\u201dlar bilan muso\u00adbaqalashadigan asarni yozish iqtidoriga ega bo\u2018lgan. Tasavvur qilaylik: 25 yoshli Navoiy \u201cXamsa\u201d yozdi. Bu yoshda g\u2018azalnavis shoir sifatida mashhur edi, \u201cXamsa\u201d esa uni tirik dahoga aylantirgan bo\u2018lardi. Ammo bunday qilmagan. Nega? Sababi \u2013 u o\u2018z oldiga shunchaki takror va taqlid emas, balki yuksakroq marralarni qo\u2018yganki, yoshligida \u201cXamsa\u201d yozib shuhrat qozonish o\u2018rniga, bu ishga puxta tayyorlanish yo\u2018lidan borgan, hatto ahamiyati bo\u2018yicha birinchi o\u2018rinda turmaydigan nuqtalargacha astoydil yondashgan.<\/p>\n Inson faoliyatining qaysi sohasi bo\u2018lmasin, o\u2018zidan avvalgilarni izzat-hurmat qilgan holda, ular qoldirgan merosga ijodiy, kerak bo\u2018lsa tanqidiy yondashib, ulardan o\u2018zishga harakat qilinmas ekan, taraqqiyot bo\u2018lmaydi. Zotan, shunchaki taqlid, hattoki avvalgilar erishgan darajadagi takror \u2013 aslida depsinish bo\u2018lib, alal-oqibat inqirozga olib keladi. Mumtoz asarning takrori hech qachon u bilan teng mavqega ega bo\u2018la olmaydi. Navoiy buni yaxshi tushungan. Navoiyning \u201cFarhod va Shirin\u201d, \u201cSab\u2019ai sayyor\u201d dostonlarida aniq-tiniq ko\u2018rinadigan novatorlik va mukammallik uning boshqa dostonlariga ham xos. Bu sifat Navoiyning tabiatidan, ijodda amal qilgan prinsiplaridan kelib chiqadi. Aytilganlar, birinchi navbatda \u201cXamsa\u201dning ilk dostoni \u201cHayratul-abror\u201dga taalluqli.<\/p>\n Alibek Rustamov \u2013 buyuk navoiyshunos<\/strong><\/p>\n Bu doston xususida fikr yuritilganda, odatda asosiy e\u2019tibor dostonning ikkinchi qismiga \u2013 maqolatlarga qaratib kelingan va shu asosda al-Muqaffaning \u201cKalila va Dimna\u201d, Hakim Sanoiyning \u201cHadiqatul-haqiqat\u201d, Nizomiyning \u201cMaxzanul-asror\u201d, Dehlaviyning \u201cMatla\u2019ul-anvor\u201d, Sa\u2019diyning \u201cBo\u2018ston\u201d va \u201cGuliston\u201d, Jomiyning \u201cTuhfatul-ahror\u201d va \u201cBahoriston\u201d asarlari yo\u2018nalishidagi yana bir axloqiy-didaktik asar degan xulosa chiqarilgan. Salaflarining mos asarlaridan Navoiy dos\u00adtonining farqini, ya\u2019ni originalligi va mukammalroq ekanligini, bir-biri bilan deyarli bog\u2018lanmagan hikoyalardan iborat bo\u2018lmay, balki umumiy g\u2018oya asosida qurilganini ko\u2018rish uchun, asarga \u201cqush uchadigan balandlikdan qarash\u201dga to\u2018g\u2018ri keladi. Obrazli tamsil: Meksikaning Yukatan yarimorolida joylashgan ulkan krater faqat kosmosdan qaraganda ko\u2018ringan (u Yerdagi hayot taqdiriga juda kuchli ta\u2019sir ko\u2018rsatgan meteorit urilishidan hosil bo\u2018lgan).<\/p>\n \u201cHayratul-abror\u201d asariga mana shu prinsip bilan yondashilsa, uning yaxlit falsafiy konsepsiyasi aniq ko\u2018zga tashlanadi.<\/p>\n Navoiy tavalludining 500 yilligiga tayyorgarlik munosabati bilan \u201cXamsa\u201d dostonlari rus tiliga tarjima qilina boshladi. 25 yil o\u2018tib, rus tilida 10 jildli asarlar to\u2018plami chop etildi. Tarjimalarning bir qismi \u201cJahon adabiyoti klassikasi\u201d turkumining Navoiyga bag\u2018ishlangan jildida qayta bosildi. \u201cHayratul-abror\u201d tarjimasi, \u00addostonning taxminan choragi diniy mazmunda bo\u2018lgani uchun tashlab \u00adketilib, bag\u2018ishlovlardan boshlangan. Muhimi, ko\u2018ngul va uning uch hayrat boblari berilgan. Shunga qaramay, rusiyzabon faylasuflar ham Navoiyni shoir deb bilgani uchun \u201cHayratul-abror\u201d bilan qiziqishmagan.<\/p>\n Bu holat o\u2018zimizda ham kuzatiladi \u2013 asar faylasuflarimiz e\u2019tiboridan chetda qolib keladi. Asarga bunday kemtik yondashuv hamon saqlanib qolayotganiga endi o\u2018zimiz sababchi: \u201cNavoiy \u2013 buyuk shoir\u201d degan shiorni mahkam tutib olganmiz, \u201cNavoiy \u2013 buyuk filosof\u201d demaymiz. Juda nari borsa, qisinib-qimtinib \u201cNavoiyning falsafiy qarashlari\u201d deymiz[12]. Holbuki, falsafiy qarashlar istalgan shoirda topiladi. O\u2018rtamiyona shoir ham bunga da\u2019vo qilsa, hech kim rad etolmaydi. Navoiydek faylasuf esa millatning intellektual siymosi degani. Xitoylar uchun Konfusiy singari.<\/p>\n Navoiyshunoslar orasida hazratni buyuk faylasuf deb biladiganlar bor edi. Masalan, akademik Vohid Zohidov. Faqat bu olim o\u2018z davri talabidan kelib chiqib, Navoiy falsafasiga markscha-lenincha, ya\u2019ni sun\u2019iy ta\u2019limot asosida yondashgan. Akademik A.Qayumov sho\u2018ro mafkurasi hukmronligi davridagi tadqiqotida \u201cHayratul-abror\u201dda ijtimoiy-falsafiy motivlarga urg\u2018u berish bilan cheklangan[13]. Navoiyning ijodiy merosiga Sharq falsafasi nuqtai nazaridan yondashgan olim akademik Alibek Rustamov (1931\u20132013) edi[14].<\/p>\n Mavridi kelganda domlani xotirlab, ruhini shod etish \u2013 savob. Zotan, Aliybeg Rustamiy (bu ustozning taxallusi) o\u2018z umrining ellik yilini faqat Alisher Navoiyni o\u2018rganishga baxshida etgan. Muhimi \u201cNavoiy\u201d degan ummonga chuqur sho\u2018ng\u2018igan \u201cg\u2018avvos\u201d edi. Birgina misol: Navoiy she\u2019rlarida qayta va qayta uchraydigan \u201cmastu alast\u201d iborasining asil ma\u2019nosini Alibek domlagina izohlab berdilar.<\/p>\n Navoiyning buyuk missiyasi davomida hotif (g\u2018oyibdan un beruvchi) bolaligidan boshlab unga hamnafaslik qilgan bo\u2018lsa, A.Rustamovni ham \u201cazal soqiysi\u201d maktab yoshidan navoiyshunoslik cho\u2018qqisigacha yetaklab borgan.<\/p>\n Domlamiz maktabda madrasaning sobiq mudarrisi qo\u2018lida o\u2018qigan, undan eski o\u2018zbek yozuvidagi kitoblar mutolaasini o\u2018rgangan ekan. Maktabni bitirishiga SAGUda Sharq fakulteti ochilgan va domla uning fors tili guruhida tahsil olgan (nemis tilini ikkinchi til sifatida o\u2018rgangan).<\/p>\n Universitetda o\u2018sha davrda Y.E.Bertels, A.A.Semyonov kabi yirik sharqshunoslar dars bergan. Shuning uchun domla rus tilini mukammal bilar, muhimi, tarixga ilmiy yondashuv prinsiplarini o\u2018zlashtirgan edi. Uning bilimi va mahoratiga bir dalil: Navoiyning \u201cMahbubul-qulub\u201d asarini rus tiliga sa\u2019jini saqlab o\u2018girgan. Misol:<\/p>\n Odilu oqil podshoh ibodullohg\u2018a zillulloh. Xilofat mulki aning farmonida, \u201cInni jo\u2019ilun fil arzi xalifatun\u201d \u2013 aning shonida. Bukim, odil podshoh rif\u2019ati ta\u2019rixdin biyikroq erur, \u201cVulidtu fi zamonis-sultonul-odil\u201d andin xabar berur.<\/p>\n Tarjimada:<\/strong><\/p>\n \u0415\u0441\u043b\u0438 \u0446\u0430\u0440\u044c \u0441\u043f\u0440\u0430\u0432\u0435\u0434\u043b\u0438\u0432 \u0438 \u0443\u043c\u0451\u043d, \u0434\u043b\u044f \u0431\u043e\u0436\u044c\u0438\u0445 \u0440\u0430\u0431\u043e\u0432 \u0442\u0435\u043d\u044e \u0411\u043e\u0433\u0430 \u044f\u0432\u043b\u044f\u0435\u0442\u0441\u044f \u043e\u043d. \u041e\u043d \u043f\u043e\u0434\u043b\u0438\u043d\u043d\u044b\u0439 \u0432\u043b\u0430\u0441\u0442\u0435\u043b\u0438\u043d \u0432\u043e \u0432\u043b\u0430\u0434\u0435\u043d\u0438\u0438 \u0441\u0432\u043e\u0435\u043c, \u0441\u0442\u0438\u0445 \u201c\u041a\u043e\u0440\u0430\u043d\u201d\u0430 \u201c\u041f\u043e\u0438\u0441\u0442\u0438\u043d\u0435 \u042f \u0441\u0442\u0430\u0432\u043b\u044e \u043d\u0430\u043c\u0435\u0441\u0442\u043d\u0438\u043a\u0430 \u043d\u0430 \u0437\u0435\u043c\u043b\u0435\u201d \u043d\u0438\u0441\u043f\u043e\u0441\u043b\u0430\u043d \u043e \u043d\u0435\u043c. \u0412\u0435\u043b\u0438\u0447\u0438\u0435 \u0441\u043f\u0440\u0430\u0432\u0435\u0434\u043b\u0438\u0432\u043e\u0433\u043e \u0446\u0430\u0440\u044f \u043e\u043f\u0438\u0441\u0430\u0442\u044c \u043d\u0435\u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e. \u0418\u0437\u0440\u0435\u0447\u0435\u043d\u0438\u0435 \u201c\u042f \u0440\u043e\u0434\u0438\u043b\u0441\u044f \u0432 \u044d\u043f\u043e\u0445\u0443 \u0441\u043f\u0440\u0430\u0432\u0435\u0434\u043b\u0438\u0432\u043e\u0433\u043e \u0446\u0430\u0440\u044f\u201d \u043e\u0431 \u044d\u0442\u043e\u043c \u0433\u043e\u0432\u043e\u0440\u0438\u0442 \u043d\u0435\u043f\u0440\u0435\u043b\u043e\u0436\u043d\u043e.<\/em><\/p>\n Domla universitetni bitirib, qadimgi turk tili bo\u2018yicha dissertatsiya yoqlagan va \u201cDevonu lug\u2018atit-turk\u201d asarining ruscha tarjimasini nashrga tayyorlashda faol qatnashgan. Bu ish davomida arab tili bo\u2018yicha bilimidan qoniqmay, yana Sharq fakultetining arab tili guruhida ham shug\u2018ullangan! Bir yil Qohirada universitetda ishlab kelgan. Navoiyning \u201cMuhokamatul-lug\u2018atayn\u201d asari A.Rustamov muharrirligida ingliz tilida chop etilgani ham diqqatga sazovor.<\/p>\n Nomzodlik dissertatsiyasini yoqlab bo\u2018lgach, A.Rustamov Navoiyni o\u2018rganishga kirishgan. Kirishgan-u, bir umr boshqa mavzuga qo\u2018l urmagan. Bir umr faqat Navoiy, faqat navoiyshunoslik. Boisi \u2013 \u201cNavoiy\u201d degan ummonga sho\u2018ng\u2018iganlarida, uning badiiy gavhar va ma\u2019naviy javohirlari ustozning qalbini batamom zabt etgan. Farhod Shiringa, Majnun Layliga oshiqu shaydo bo\u2018lgani singari.<\/p>\n Shubhasiz, Navoiyni o\u2018qish uchun Navoiy kalomini egallash kerak. Shu bilan birga, Navoiy falsafasini anglab yetish zarur. Buning uchun qadimgi turk, fors va arab tillarini bilishning o\u2018zi kifoya emas \u2013 Sharq falsafasi, ayniqsa, tasavvufga oid ko\u2018plab manbalarni sinchiklab o\u2018rganish lozim. Domlaning bu boradagi bilimi ham hayratomuz edi.<\/p>\n Kamina ustozdan birmuncha saboq olish baxtiga musharraf bo\u2018ldim. Ming afsuski, saboq eng muhim nuqtasiga kelganda uzilib qoldi. Navoiyni o\u2018qiganda, tushunmagan o\u2018rinlarni ustozdan so\u2018rar edim. Ikkinchi saboqdan so\u2018ng: \u201cHamma savolga javob bera oladi, desangiz yanglishasiz, bundan buyon yozib keling, uyda manbalardan foydalanib, javob berishga harakat qilaman\u201d, degan edilar o\u2018zlariga xos kamtarlik va viqor qorishiq ohangda. Men g\u2018o\u2018rlik qilib, \u201cXazoyinul-ma\u2019oniy\u201ddagi g\u2018azallardagi tishim o\u2018tmagan baytlardan boshlab, keyin ruboiylarga o\u2018tibman. Endi nadomat chekamanki, \u201cXamsa\u201ddan boshlashim kerak edi, \u201cHayratul-abror\u201ddan saboq olib ulgurishim kerak edi.<\/p>\n Suhbat mavzusi aylanib, bu dostonga ham kelar edi. Ustoz bir safar Forobiy, ibn al-Arabiy, Suxravardiy, Abu Homid G\u02bbazzoliy va boshqa faylasuflar asarlarida muhokama qilingan va \u201cinson tushunchasining javhari (substansiyasi)\u201d to\u2018g\u2018risidagi konsepsiyani izohlab bergan edilar[15]. Boshqa bir saboq may va ishq tushunchalariga bag\u2018ishlangan ediki, ular bevosita ko\u2018ngil bilan chamcharchas bog\u2018liq.<\/p>\n Ushbu essedan bosh maqsad \u201cko\u2018ngil \u2013 inson javhari\u201d formulasini yoyibroq izohlashdan iborat. Bu formula, o\u2018z navbatida, \u201cHayratul-abror\u201dning javharidir.<\/p>\n Men domlaning ilmidan hayratga tushib, ko\u2018p o\u2018ylab, bir safar murojaat etishga jur\u2019at qildim: \u201cDomla, \u201cHayratul abror\u201dni sizning sharhlaringiz bilan nashr etsak?\u201d Ustoz rozi bo\u2018ldi, ammo bu ishga kirishilmasidan, foniy dunyoni tark etdi. Buyuk navoiyshunos ummonday bepoyon va tubsiz ilmini o\u2018zlari bilan olib ketdi. Ayniqsa, Islom Sharqi falsafasiga oid bilimlarini. Bizga ana shu ummonning hajman mo\u02bbjaz ko\u2018rfazlari \u2013 \u201cQadimgi turkiy til\u201d, \u201cNavoiyning badiiy mahorati\u201d, \u201cNavoiy tilining grammatik xususiyatlari\u201d, \u201cSo\u2018z haqida so\u2018z\u201d, \u201cAdiblar odobidan adablar\u201d, \u201cHazrati Navoyiyning \u201cmasti alasti\u201d, \u201cHazrati Navoyiyning e\u2019tiqodi\u201d, \u201cHazrati Navoyiyning ma\u2019naviy olami\u201d risolalari qoldi. Hammasi ham ixcham, ammo har biri mazmunan jild-jild kitoblarga teng. Shunga ham shukr. Ba\u2019zan o\u2018ylanaman: yana qachon Alibek Rustamovday navoiyshunos dunyoga kelar ekan?<\/p>\n Bu esseda ustoz saboqlaridan olingan bilim va tushunchalar bilan o\u2018rtoqlashish niyat qilingan. Unda nima haqiqatga muvofiq bo\u2018lsa \u2013 ustozdan, nima yanglish bo\u2018lsa \u2013 muallifdan. Bilib-bilmay qilgan xatolar uchun astag\u2018firulloh. O\u2018quvchilardan esa umid va o\u2018tinchimiz \u2013 bag\u2018rikenglik bilan ma\u2019zur tutgaylar va o\u2018z qalamlari bilan tuzatgaylar.<\/p>\n <\/p>\n \u201cPanja\u201dning bosh barmog\u2018i<\/strong><\/p>\n <\/p>\n \u201cHayratul abror\u201d \u2013 \u201cXamsa\u201d beshligining birinchi dostoni. U Nizomiyning \u201cPanj ganj\u201didagi birinchi doston bo\u2018lmish \u201cMaxzanul-asror\u201d va Dehlaviy \u201cXamsa\u201dsining ham birinchi dostoni bo\u2018lmish \u201cMatla\u2019ul-anvor\u201dga javob.<\/p>\n Nizomiy va Dehlaviy dostonlariga Navoiydan biroz oldin Abdurahmon Jomiy ham javob yozgan va uni \u201cTuhfatul-ahror\u201d deb atagan. Jomiy asari hijriy 886 (milodiy 1481\/82) yilda yozilgan va oqqa ko\u2018chirilishi bilan Navoiyga fikr bildirish uchun berilgan. \u201cHayratul-abror\u201d hijriy 888 (milodiy 1483) yilda yozilgan. Bundan sirtdan qaraganda \u201cHayratul-abror\u201d dostoni \u201cTuhfatul-ahror\u201dga ham javob sifatida yozilgan degan xulosa chiqishi mumkin, ammo biz bunday fikrdan yiroqmiz. Xususan, Ye.E.Bertelsning \u201cJomiy dostonini o\u2018qib chiqish Navoiyda \u201cXamsa\u201d yaratishga urinib ko\u2018rish fikrini uyg\u2018otdi\u201d degan \u00adfikriga qo\u2018shila olmaymiz. Atoqli navoiyshunos o\u2018z fikriga \u201cHayratul-abror\u201ddan quyidagi baytlarni dalil qilib keltiradi (mufta\u2019ilun mufti\u2019ilun fo\u2019ilun):<\/p>\n Xidmati-n_et|timki, taman|no edi,<\/em><\/p>\n Ilgida ko\u2018r|dum necha aj|zo edi.<\/em><\/p>\n <\/p>\n Kulgu bila | qildi isho|rat me-nga,<\/em><\/p>\n Tuhfa bila | berdi basho|rat me-nga\u2026<\/em><\/p>\n <\/p>\n Boshti-n_ayoq | gavhari shah|vo:r_edi,<\/em><\/p>\n Qaysi guhar, | Tuhfatul-ah|ro:r\u201d_edi\u2026<\/em><\/p>\n <\/p>\n Chun o\u2018qumoq | zamzamasi | bo\u2018ldi bas[16],<\/em><\/p>\n Ko\u2018nglu-m_aro | dag\u2018dag\u2018a sol|di havas.<\/em><\/p>\n <\/p>\n \u2013 Jomiyning xizmatini qilishni ado etgan edim[17], u qo\u2018liga daftarlarni oldi va tabassum bilan \u201co\u2018qi\u201d deya ishora berdi. Daftarlar \u201cTuhfatul-ahror\u201d dostoni ekan. Uni zamzama qilib bo\u2018lgach, ko\u2018nglimda havas uyg\u2018ondi.<\/p>\n Bu yerda Navoiyning \u201cmenda havas uyg\u2018ondi\u201d degan so\u2018zini \u201cendi \u201cXamsa\u201d yozishga kirishsam bo\u2018ladi\u201d ma\u2019nosida tushunish to\u2018g\u2018riroq bo\u2018ladi. Chunki Navoiy \u201cXamsa\u201d yozishni juda erta niyat qilgan.<\/p>\n He\u0441h shubhasiz, o\u2018zining nazmiy qudratini yaxshi bilgan Navoiy \u00ad\u201cXamsa\u201d yozish orzusini ado etishga qattiq tayyorgarlik ko\u2018rgan, uzoq yillar tegishli material yiqqan. Bizningcha, u bu ishga avvalroq kirishmaganining sababi \u2013 Jomiy \u201cXamsa\u201d yozarmikan? Agar yozsa, qanday yangilik qilar ekan? \u2013 degan andishali savol bo\u2018lgan. Axir Jomiy Navoiyning tasavvufdagi piri edi va undan oldin \u201cXamsa\u201dga qo\u2018l urishi bu e\u2019tiqod taomiliga unchalik to\u2018g\u2018ri kelmas edi.<\/p>\n Shuning uchun yuqoridagi parchani biroz boshqacha talqin qilish maqsadga muvofiq: \u201cTuhfatul-ahror\u201dni o\u2018qib chiqqan Navoiy, birinchidan, piri Nizomiy va Dehlaviyga javob yozishni boshlaganidan qoniqish hosil qilgan. Ikkinchidan, Jomiyning dostoni prinsipial jihatlarga ko\u2018ra \u201cMaxzanul-asror\u201d va \u201cMatla\u2019ul-anvor\u201d dostonlari yo\u2018sinida yozilgan, shu bilan birga ulardan ancha ixcham ekanligi Navoiyga o\u2018z \u201cXamsa\u201dsini yaratishga yo\u2018l ochgan.<\/p>\n Navoiy \u201cTuhfatul-ahror\u201dni o\u2018qib chiqib, keyin men ham \u201cXamsa\u201d yozsam, degan fikrga kelgan deyish tarixiy haqiqatga to\u2018g\u2018ri kelmasligiga yana bir sabab shuki, Navoiy dostonlari, bir tomondan, juda qisqa vaqtda yozib tamomlangan \u2013 Nizomiy 15 yilda, Dehlaviy 7 yilda bitirgan bo\u2018lsa, Navoiy ikki yilda tamomlagan. (Jomiy yettita, ko\u2018pi nisbatan ixcham dostonlardan iborat majmuasini 8 yilda yozgan.) Salaflari \u201cXamsa\u201d yozish davomida butun vaqtini faqat shu yumushga bag\u2018ishlagan bo\u2018lsa, Navoiy beqiyos ko\u2018lamdagi jamoat ishlaridan bo\u2018sh vaqtlarida yozgan, sarflagan vaqti hisobga olinsa, olti oyga ham yetmagan. Shu bilan birga, Navoiy \u201cXamsa\u201dsi salaflarinikidan originalligi va mukammalligi bilan ajralib turadi.<\/p>\n Bunday asar \u201cendi men ham yozsam bo\u2018lar ekan\u201d deya yozib tashlanmaydi. Navoiyning \u201cXamsa\u201dsi Nizomiy va Dehlaviy \u201cXamsa\u201dlariga shunchaki javob emas. Navoiy \u201cXamsa\u201dsi jahon adabiyotining eng yuksak cho\u2018qqisi nomiga \u00admunosib asardir.<\/p>\n Nizomiy o\u2018z beshligini nima uchun aynan axloqiy-falsafiy mazmundagi dostondan boshlaganini bugun izohlash qiyin. Dehlaviy esa Nizomiy izidan borgan va shu tariqa an\u2019ana vujudga kelgan. Keyin \u201cXamsa\u201d yozishga kirishganlar bu an\u2019anaga amal qilishi tabiiy edi. Jumladan, Abdurahmon Jomiy o\u2018zining \u201cTuhfatul-ahror\u201d dostonini shu yo\u2018sinda yozgan. Biroq Jomiy \u201cXamsa\u201dchilikni davom ettirmagan \u2013 an\u2019anaviy \u201cbeshlik\u201d mundarijasidan chekinib, faqat Jomiyning o\u2018ziga xos, \u201cHaft avrang\u201d deb atalgan yettita dostondan iborat turkum yaratgan.<\/p>\n O\u2018z-o\u2018zidan savol tug\u2018iladi: Jomiy \u201cPanj ganj\u201d mavzularidagi besh dostondan iborat \u201cXamsa\u201d yozmay, an\u2019anadan chetga chiqqanining sababi nima? Asosiy versiya: beshlikning ikkinchi dostoni Nizomiyda ham, Dehlaviyda ham Xusrav bilan Shirin o\u2018rtasidagi muhabbat bilan bog\u2018liq voqealarga bag\u2018ishlangan bo\u2018lib, bunday syujetni Jomiy ma\u2019qul topmagan, \u201cMen qaysidir shohning qaysidir go\u2018zalga ishqi to\u2018g\u2018risida hikoya qiluvchi roviy emasman\u201d, deya, tasavvufiy talqini ayon \u201cYusuf va Zulayho\u201d dostonini bitishni afzal topgan[18]. Bu bilan an\u2019anaviy mundarijadagi \u201cXamsa\u201d emas, ta\u2019bir joiz bo\u2018lsa, Jomiyning \u201cSab\u2019a\u201dsi dunyoga kelgan.<\/p>\n Hech kim Navoiydan keyin \u201cXamsa\u201d yozib, muvaffaqiyat qozonmagan bo\u2018lsa, Jomiydan keyin \u201cSab\u2019a\u201d yozishga kuch topmagan. Shu bilan bu ikki asar mumtoz Sharq adabiyotining yetib bo\u2018lmas cho\u2018qqilari bo\u2018lib qoldi.<\/p>\n Fikrimizcha, Jomiyning besh dostonlik majmua o\u2018rniga yetti dostonlik majmua yozganining yana bir, \u201cHayratul-abror\u201d bilan bog\u2018liq sababi ham mavjud. U ham bo\u2018lsa, Jomiy Navoiyning \u201cHayratul-abror\u201d asarini o\u2018qib chiqqach, zukko olim sifatida u naqadar uzoq va chuqur o\u2018ylab, naqadar puxta yozilganini ko\u2018radi va tasavvufona futuvvat bilan xamsanavislik maydonini Navoiyga bo\u2018shatib beradi. Navoiy \u201cXamsa\u201dsi yozib bo\u2018lingach, unga Jomiyning bergan bahosi yaxshi ma\u2019lum[19]:<\/p>\n Kel, Jomiy, umr bo\u2018yi mashaqqat tortib, ko\u2018nglingdan shu \u201cBesh ganj\u201dni dunyoga chiqarding. Sening bu \u201cBesh\u201ding shunday kuchli panja bo\u2018ldiki, daryokaflar qo\u2018li buralib ketadi\u2026 biroq har xazina o\u2018lchovchi qalamidan bu o\u2018tar dunyo \u201cBesh xazina\u201d bilan boyigandir. U \u201cBesh\u201dliklarga sening \u201cBesh\u201ding qachon tenglashardi? Ularning bir xazinasi sening yuz xazinangdan yaxshidir. Xususan, u panjaki (Navoiy) ganjadan sarpanja urganga (Nizomiy \u201cXamsa\u201dsiga) sher kabi o\u2018z sarpanjasini urdi, turkiy tilda bir ajoyib qo\u2018shiq kuyladiki, jodu nafaslilar og\u2018zi muhrlandi. Bu qalamga falakdan ofarinlar yog\u2018ilsin! Chunki bu yoqimli naqshni o\u2018sha qalam yaratdi va forsiy til egalari, forscha nazm durlarini tizuvchilarga rahm qildi: u ham (\u201cXamsa\u201dsini) shu forsiy tilda yozganda, boshqalarga so\u2018z aytishga majol qolmas edi. Bu mo\u02bbjizakor nazm tarozisi qarshisida Nizomiy kim-u, Xusrav kim bo\u2018ldi? U boshqa tilda so\u2018z yuritganidan aqlga oradagi farqni ajratish uchun yo\u2018l qolmadi. Ey (Navoiy), sening ta\u2019bing so\u2018z ustodidir.<\/p>\n Jomiy, hech shubhasiz, oradagi farqni ajrata olgan. Ta\u2019kidlash lozimki, \u201cXamsa\u201dga berilgan yuksak baho eng avvalo \u201cHayratul-abror\u201d tufaylidir. Haqiqatan, bu asar badiiy jihatdan ham, falsafiy jihatdan ham beqiyos yuksak darajada yozilgan. Bunday asar faqat uzoq tayyorgarlik, puxta tahliliy tafakkur natijasidagina \u00addunyoga kelishi mumkin. Yuqorida ta\u2019kidlanganidek, Navoiy bu missiyaga bolaligidan o\u2018zini tayyorlagan, uzoq yillar davomida asarning g\u2018oyaviy fabulasini dilida pishitib kelgan.<\/p>\n <\/p>\n Bolalik g\u2018aroyibotlari<\/strong><\/p>\n <\/p>\n Navoiyning bolaligi Temuriylar xonadonining boyrusi bo\u2018lgan oila bag\u2018rida, o\u2018smirligi Abulqosim Bobur Mirzo saroyida xizmatda o\u2018tdi. Ya\u2019ni bu davrda yosh Alisher hayoti juda farovon kechgan. Oila va saroydagi har tomonlama muqobil sharoit Alisherning nazm dunyosiga sho\u2018ng\u2018ishiga, o\u2018zining mo\u02bbjizaviy iste\u2019dodini juda erta namoyon etishiga, muhimi, so\u2018z boyligini va so\u2018z san\u2019atining siru asrorlarini vujudiga singdirib olishiga imkon bergan. Insoniyat tarixida bunday mo\u02bbjiza keyinroq Mosartda namoyon bo\u2018ladi \u2013 u hali yozuvdan saboq olmay turib, musiqa bastalab, uni notaga tushirishni o\u2018rgangan va hammani hayratga solgan. Xuddi shu yoshdagi Alisher ham o\u2018zining nazmiy savqini namoyon qilgan va o\u2018smir yoshidayoq shoir deb tanilgan. To\u2018g\u2018rirog\u2018i, kuchli shoir sifatida shuhrati yoyilgan. Navoiyning o\u2018zi \u201cHoloti Sayyid Hasan Ardasher\u201d asarida 12-14 yasharligida she\u2019rlari Xurosonda shuhrat qozonganini qayd etgan, \u201cMajolisun-nafoyis\u201dda esa Shohiy taxallusi bilan she\u2019rlar yozgan sarbador Amir Oqmalik haqida shunday xotiralari bitilgan: \u201cG\u02bbazali agarchi ozdur, ammo barcha xaloyiq qoshida pisandida va mustahsandur. Faqir agarchi ani ko\u2018rmadim, ammo aning bila faqir o\u2018rtasida e\u2019lom va irsol voqe\u2019 bo\u2018ldi\u201d (g\u2018azali ko\u2018p emas, ammo elning e\u2019tirofiga sazovordir; men uni ko\u2018rmagan bo\u2018lsam-da, yozishmalar qilib o\u2018zaro fikr almashgan edik). Ye.E.Bertels Amir Oqmalik vafot etganida Navoiy hali 12 yoshga to\u2018lmaganini ta\u2019kidlagan.<\/p>\n Navoiyning:<\/strong><\/p>\n Orazin yop|qach ko\u2018zumdin | sochilur har | lahza yosh,<\/em><\/p>\n Uylakim[20] pay|do bo\u2018lur yul|duz, nihon bo\u2018l|g\u2018ach quyosh\u201d,<\/em><\/p>\n deb boshlanadigan g\u2018azali \u201cMalikul-kalom\u201d (shoirlarning sultoni) nomi bilan mashhur Lutfiyni hayratga solgani yaxshi ma\u2019lum. Lutfiy vafot etganda, Navoiy 14 yoshda edi. Shunga ko\u2018ra, Navoiy Lutfiy huzurida bu g\u2018azalini o\u2018qiganda, 12-13 yoshli o\u2018smir bo\u2018lgan deya xulosa qilish mumkin. Mazkur g\u2018azalning tasavvuf ruhidagi<\/p>\n <\/p>\n Umri jovid | istasang far|d_o\u2018lki, bo\u2018ston | Xizridur<\/em><\/p>\n Sar-v-kim, da\u2019|b_ayladi o|zodalik bir|la maosh.<\/em><\/p>\n <\/p>\n Qoshi ollin|da Navoiy | bersa jon ay|b_etmangiz,<\/em><\/p>\n Gar budur meh|ro-b bir-bir | qo\u2018ygusidur |barcha bosh,<\/em><\/p>\n baytlarini o\u2018smir yigitcha yozgani chindan ham hayratomuz va mo\u02bbjizaviy hodisadir.<\/p>\n Navoiyning iqtidoridan xabardor bo\u2018lgan Xuroson sultoni Abulqosim Bobur Mirzo uni o\u2018z saroyiga xizmatga oladi \u2013 bu unga maosh belgilandi, demakdir. Bu davrda Navoiy nazmda biri biridan latif g\u2018azalu qit\u2019a, ruboiyu tuyuqlari bilan tanilgan edi. Biz uchun muhimi \u2013 do\u2018sti Sulton Husayn Mirzo da\u2019vati bilan eng atoqli forsiynavis shoirlarning mashhur asarlariga turk tilida javob aytishni niyat qilib, shunga tayyorlanishni boshlab yuborgan. Bu haqda Navoiy \u201cSaddi Iskandariy\u201d \u00addostonida Nizomiy va Dehlaviyga qarata aytgan<\/p>\n Kichik er|kanimdin |bo\u2018lub qo|shima,<\/em><\/p>\n Ulug\u2018 mud|dao sol|dingiz bo|shima,<\/em><\/p>\n so\u2018zlari shohidlik beradi \u2013 \u201culug\u2018 muddao\u201d deganda \u201cXamsa\u201d yaratish nazarda tutilgani shubhasiz. Navoiyning Abulqosim Bobur saroyida xizmat qilgan yillari uning hayotidagi omadli davr edi. \u201cMajolisun-nafoyis\u201dda shunday ta\u2019rif keltirilgan: \u201c(Abulqosim Bobur) darveshvash va foniysifat va karimul-axloq (go\u2018zal xulqli) kishi erdi\u2026 Tab\u2019i dag\u2018i nazmg\u2018a muloyim erdi\u2026<\/strong><\/em><\/p>\n Agarchi turkcha nazmlar ham aytur erdikim, barchag\u2018a qabul erdi. Ammo bu ham aningdurkim:<\/p>\n Necha yuzung | ko\u2018rub hayron | o\u2018loyin,<\/em><\/p>\n Ilohi, men | sa-nga qurbon | o\u2018loyin\u201d.<\/em><\/p>\n Bunday ma\u2019rifatli hukmdorning Navoiyni qadrlagani tushunarli. Afsuski, daho umrining bu davri uzoq davom etmagan. Undan keyingi sinov yillari shoirning g\u2018azal va ruboiylarida o\u2018z aksini topgan.<\/p>\n <\/p>\n Ilk devon<\/strong><\/p>\n <\/p>\n Navoiyning Samarqandga hijrat qilishidan avval yozgan she\u2019rlari anchayin to\u2018liq saqlanib qolgan, ularni shoirning Hirotdagi do\u2018st va muxlislari (Abulqosim Bobur poytaxti Mashhad edi) to\u2018plab, devon holiga keltirganlar, hozirgi tilda aytganda, nashr qilganlar (xattot \u2013 Sultonali Mashhadiy). U hajman ham, mazmunan ham o\u2018z davridagi nomdor shoirlardan talayi bir umr tuzgan devonlardan kam emas: 390 ta g\u2018azal, 2 ta musta\u2019zod, 41 ruboiy.<\/p>\n Adabiyotshunoslikda \u201cIlk devon\u201d deb ataladigan bu manbada shunday she\u2019rlar borki, o\u2018qiganni hayrat ummoniga cho\u2018mdiradi. Lutfiyga manzur bo\u2018lgan mashhur g\u2018azalga qo\u2018shimcha yana bir necha misol:<\/p>\n <\/p>\n Har gadokim, | bo\u2018:riyoyi | faq-r_erur kis|vat a-nga,<\/em><\/p>\n Saltanat zar|boftidin ho|jat emas xil|\u2019at a-nga.<\/em><\/p>\n <\/p>\n Kim fano tuf|rog\u2018ig\u2018a yo|tib qo\u2018yar tosh | uzra bosh,<\/em><\/p>\n Tax-t_uza er|mas muhabbat | muttako ho|jat a-nga.<\/em><\/p>\n <\/p>\n \u2013 bu g\u2018azal Abulqosim Boburga bag\u2018ishlangan. Xususan, 13 baytli g\u2018azalning:<\/p>\n <\/p>\n Sho:h-lar dar|veshiyu dar|ve:sh-lar sho|hi:ki, bor<\/em><\/p>\n Sho:h-lig\u2018 sur|\u2019at a-nga, dar|ve:sh-lik siy|rat a-nga,<\/em><\/p>\n <\/p>\n misralari \u201cMajolisun-nafoyis\u201ddagi Abulqosim Boburga berilgan ta\u2019rifga muvofiqdir. (Ayrim tadqiqotlarda bu bayt Sulton Husayn Mirzoga bag\u2018ishlangan, deyiladi. Holbuki, \u201cIlk devon\u201d yozilganda, Sulton Husaynning taxtga o\u2018tirishiga kamida yana uch yil bor edi.)<\/p>\n Ajib bir holat \u2013 Navoiy o\u2018smirligida yozgan mana bu hamd-munojot g\u2018azalni o\u2018zining \u201cFavoyidul-kibar\u201d (\u201cQarilik foydalari\u201d) deb atagan to\u2018rtinchi devoniga ochqich sifatida kiritgan (rajazi musammani solim):<\/p>\n <\/p>\n Ey, yetti man|zar tarhiga | me\u2019mori sun|\u2019ungdin bino,<\/em><\/strong><\/p>\n Masnu:\u2019-lar | foniy, vale | maslubi so|ni\u2019din fano.<\/em><\/strong><\/p>\n \n Chekmay malak | lutfung kuni | juz zik-r_ila | tasbih uni,<\/em><\/strong><\/p>\n Odam debon | qahring tuni | har dam \u201cZalam|no Rabbano!\u201d [21]<\/em><\/strong><\/p>\n \n Hamdingg\u2018a har | ko\u2018:tahnazar | ham gun-gu lo|l_o\u2018lg\u2018ay magar,<\/em><\/strong><\/p>\n Chunkim demish | Xayrul-bashar | ul yerda \u201cLo uhsi sano\u201d.<\/em><\/strong><\/p>\n \n Jinsi bashar | yo\u2018q ogahing, | xurshi:d xo|ki \u2013 dargahing,<\/em><\/strong><\/p>\n Ko\u2018k mah-d_aro | tifli rahing | yetti otayu to\u2018rt ona[22].<\/em><\/strong><\/p>\n \n Faq-r_ahli is|tab qurbating, | ahli g\u2018ino | ham \u2013 toating,<\/em><\/strong><\/p>\n Yetkanga do|g\u2018i furqating | ne faq-r no|fi\u2019, ne g\u2018ino.<\/em><\/strong><\/p>\n \n Vaslingda ish|rat xo\u2018b_erur, | ayshu tarab | marg\u2018ub_erur,<\/em><\/strong><\/p>\n Sensiz manga | matlub_erur | tanda alam, | jonda ano.<\/em><\/strong><\/p>\n \n Ishqingda ber | devonalig\u2018, | shavqingda ber | farzonalig\u2018,<\/em><\/strong><\/p>\n Ag\u2018yo:r-din | begonalig\u2018, aylab o\u2018zing|ga o:sh-no.<\/em><\/strong><\/p>\n \n Jurmu gunah|lardin_o\u2018tub, | kelturma yuz|ga qo\u2018rqutub,<\/em><\/strong><\/p>\n Lola agar | sog\u2018ar tutub, | musicha gar | aylar zino.<\/em><\/strong><\/p>\n \n Bordur Navo|iy bekase, | ish-q_ichra an|doqkim xase,<\/em><\/strong><\/p>\n Chun o\u2018rtading | oni base, | kuydurma do\u2018|zaxda yana.<\/em><\/strong><\/p>\n <\/p>\n Birinchi misradan oxirgisigacha falsafiy ruh bilan sug\u2018orilgan, o\u2018qiganning aqlini shoshiradigan bu hamd-g\u2018azalni sharhlashni o\u2018quvchiga qoldiramiz. So\u2018nggi bayt talqini: Navoiy peshonasini silaydigan mehri\u00adbonlaridan ajralib, bir o\u2018zi so\u2018ppayib qoldi, bu ham yetmaganday baxtsiz muhabbat uni xas holiga keltirdi. Sen uning taqdiriga ishq o\u2018tida kuyishni bitgan ekansan, yana do\u2018zax o\u2018tida ham kuydirma. (Alloh-alloh!)<\/p>\n 1149 yili taxtga o\u2018tirgan Abulqosim Bobur 1457 yili vafot etadi, Sulton Abusaid mirzo Xurosonni ham egallab, poytaxtini Samarqanddan Hirotga ko\u2018chiradi. 16 yoshli Navoiy hayotida og\u2018ir sinov yillari boshlanadi. Navoiyning bu davridagi ruhiyati quyidagi g\u2018aroyib g\u2018azalda aks etgan. Dahoning o\u2018smirlikdagi ijodidan bu namunani hayratomuz de\u00adyishning o\u2018zi kifoya emas (ramali musammani mahzuf):<\/p>\n Bo\u2018lmi-sh_andoq | munqati\u2019 ah|li zamondin | ulfatim<\/em><\/p>\n (munqati\u2019 \u2013 kesilgan)<\/strong><\/p>\n Kim, o\u2018zim bir|lan chiqishmas | ham zamone suhbatim.<\/em><\/p>\n Ey xu-sh_ulkim, | tutmi-sh_erdi | vah-sh_ila sah|roda uns<\/em><\/p>\n (uns \u2013 oshnalik)<\/strong><\/p>\n <\/p>\n Mudhi-sh_ahvo|le ma-ngokim, | bor o\u2018zumdin | dahshatim.<\/em><\/p>\n Istaram qoch|moq adam vo|diysidinkim, | kirgali<\/em><\/p>\n V\u043emiqu Far|hodu Majnun, | bas, g\u2018uluvdur | xilvatim<\/em><\/p>\n (adam \u2013 yo\u2018qlik, g\u2018uluv \u2013 vahima).<\/strong><\/p>\n <\/p>\n To\u2018lg\u2018anurmen | o\u2018zlugumdin | chiqg\u2018ali, bu|kim erur<\/em><\/p>\n Dar-d vodiy|sida sargar|don quyundek | hay\u2019atim<\/em><\/p>\n (hay\u2019at \u2013 jism, tana).<\/strong><\/p>\n <\/p>\n Ey ajal, tan | xirqasin kuy|durki, bo\u2018lmish | bas og\u2018ir<\/em><\/p>\n Bu malomat | o\u2018qlari bir|la tikilgan | kisvatim<\/em><\/p>\n <\/p>\n (tan xirqasi: so\u2018zma-so\u2018z \u2013 ichkiyim, majozan vujud; kisvat \u2013 tashqi \u00adkiyim, majozan badan).<\/p>\n <\/p>\n Ey falak, an|jum ushoq to|shin yig\u2018ib bo|shingg\u2018a ur,<\/em><\/p>\n \u0421hun fano may|xonasi xish|tidi-n_o\u2018ldi | turbatim<\/em><\/p>\n (anjum ushoq toshi \u2013 meteorit; turbat \u2013 qabr, sag\u2018ana).<\/strong><\/p>\n <\/p>\n Yetti ko\u2018kni | ko\u2018k varaqlar|dek sovurgay | har taraf,<\/em><\/p>\n Toqi miyno|yi aro chir|malsa ohi | hasratim<\/em><\/p>\n (toqi miyno \u2013 osmon gumbazi).<\/strong><\/p>\n <\/p>\n Qo\u2018y duru fe|ruza bahsin|kim, nujumu | char-x-ni<\/em><\/p>\n Nilufar bar|gi uza shab|namcha ko\u2018rmas | himmatim<\/em><\/p>\n (nujumu charx \u2013 yulduzlar va galaktika).<\/strong><\/p>\n <\/p>\n La\u2019-l-dek bo|shim osilsun | g\u2018arqayi xu|no-b_o\u2018lub,<\/em><\/p>\n La\u2019-l tikkan | saltanat to|jig\u2018a bo\u2018lsa | rag\u2018batim.<\/em><\/p>\n <\/p>\n Ey Navoiy, | ikki olam|din kechib top|dim visol.<\/em><\/p>\n Bu iki but|xonadin er|mish bu yo\u2018lda | ofatim.<\/em><\/p>\n <\/p>\n So\u2018nggi baytni irtijo (murojaat) va iltifot (so\u2018zlovchi yo tinglovchini o\u2018zgartirish) san\u2019atlari vositasi-la sharhlash maqsadga muvofiq: birinchi misrada, go\u2018yo shoirga murshid nasihat qilmoqda: \u201cMen ikki olamdan kechib, Alloh visoliga yetdim\u201d \u2013 bu tasavvufning bosh prinsipi. Oxirgi misrada gap egasi yana shoirning o\u2018zi: \u201cSening visolga yetish yo\u2018lidagi ofating \u2013 ikki olam, solikning ularga ruju\u2019 qo\u2018yishi musulmonning butlarga sig\u2018inishi bilan barobar\u201d. (Vallohu a\u2019lam bis-savob.) Bunday g\u2018azallarni o\u2018smir yigitcha yozganiga ishonish qiyin.<\/p>\n Bu g\u2018azalda Navoiyning eng og\u2018ir yillardagi ruhiyati aks etgan. U ruhiyatning nomi: benavolik. Navoiy umrining oxirida devonlariga tartib berganda, keltirilgan g\u2018azalni \u201cG\u02bbaroyibus-sig\u2018ar\u201d devoniga kiritgan, faqat unga yana bir bayt qo\u2018shgan:<\/p>\n <\/p>\n Turfa ko\u2018rkim, | xal-q komi | birla umrim | bo\u2018ldi sarf,<\/em><\/p>\n Turfaroq bu|kim birovga | yoqmadi bir | xizmatim.<\/em><\/p>\n Bu baytda endi qudrat va davlat sohibi bo\u2018lgan, dunyoning achchiq-chuchugini totgan zotning olam va odam tabiatidagi bevafolik ustidagi o\u2018y-fikrlari aks etgan.<\/p>\n <\/p>\n \u201cChor devon\u201dning ochqichi<\/strong><\/p>\n <\/p>\n \u201cHayratul-abror\u201dni anglashda Navoiyning g\u2018azaliyoti ham katta ahamiyatga molik. Bu o\u2018rinda ikki baytni ko\u2018rish bilan cheklanamiz. Birinchisi \u2013 \u201cXazoyinul-ma\u2019oniy\u201d devonlaridan birinchisining birinchi g\u2018azalidan birinchi bayt:<\/p>\n <\/p>\n Ashraqat min aksi shamsil-ka\u2019si anvorul-hudo,<\/em><\/p>\n Yor aksin mayda ko\u2018r deb jomdin chiqti sado.<\/em><\/p>\n Bu bayt mulamma\u2019 \u2013 bir misrasi arab tilida (tabdili: may kosasida quyoshning aksiday ko\u2018ngulda hidoyat nurlari porlaydi). G\u02bbazalni akademik A.Rustamov \u201cXazoyinul-ma\u2019oniy\u201dning ochqichi deb ataydi. Chindan, bu bayt bilan Navoiy go\u2018yo deydiki: \u201cMening she\u2019rlarimni o\u2018qimoqchimiz? Marhamat, birinchidan, o\u2018zbek tilining so\u2018z boyligini yaxshi biling hamda arab va fors tillaridan xabardor bo\u2018ling \u2013 birinchi misra arabcha bo\u2018lsa, ikkinchi misrada \u201cyor\u201d, \u201cmay\u201d, \u201cjom\u201d va \u201csado\u201d fors tilidan o\u2018zlashgan so\u2018zlar, jumla esa \u2013 turkiy (misra asosan forsiy so\u2018zlardan iborat bo\u2018lsa ham, o\u2018zbek tilidan xabari yo\u2018q forsiyzabon tushunmaydi).<\/p>\n <\/p>\n Ikkinchidan, aruz vaznini biling \u2013 birinchi misra 15 bo\u2018g\u2018in:<\/strong><\/em><\/p>\n Ash-ra-qat-min-ak-si-sham-sil-ka\u2019-si-an-vo-rul-hudo,<\/strong><\/em><\/p>\n ikkinchi misra esa 13 bo\u2018g\u2018in:<\/strong><\/em><\/p>\n