THE CHARACTERISTICS of USING POSSIBILITIES of DIFFERENT KINDS of REITERATIONS, POETIC ADDRESS and POETIC INQUIRIES in NABATI CREATIVITY Khadija Iskenderli1

Periódico do Núcleo de Estudos e Pesquisas sobre Gênero e Direito Centro de Ciências Jurídicas - Universidade Federal da Paraíba V. 9 - Nº 02 - Ano 2020 ISSN | 2179-7137 | http://periodicos.ufpb.br/ojs2/index.php/ged/index

573 THE CHARACTERISTICS OF USING POSSIBILITIES OF DIFFERENT KINDS OF REITERATIONS, POETIC ADDRESS AND POETIC INQUIRIES IN NABATI CREATIVITY Khadija Iskenderli1

Abstract: The characteristics of using couplets of phoneme even the whole possibilities of different kinds of poetics piece. Nonetheless Nabati is one reiterations, poetic address and poetic of the poets that used with great inquiries in his creativity were competence of expressive possibilities of investigated, the researches dedicated on literary addresses. The research showed Nabati poetry in the dissertation are that literary recital means are in the made out. This article describes that effect and mutual coherence on the basis tough we come across the concrete of complicated mechanism in the poems dissections in Nabati creativity, the of Nabati and creates the whole poetic poetics of the poet wasn.t investigated in system. There is a serious necessity to the completed form in terms of the main the comprehensive research of this parameters. Neverthelesss poetic system. accomplishing such an investigation world help to identify the parameters Introduction stipulated the distinctiveness of the In an exemplary piece of work poet’s literary heritage. The “Fuzuli creativity” monograph in the investigation showed that voice area of learning the poetics of the reiteration takes an important place in the classics of Azerbaijani literature the reiterations system of Nabati outstanding academic and author Mir diwan(selected poems of a poet) . Poet Jalal wrote: We see the mass case of achieves to exaggerate the aesthetic Fuzuli feeble imitation in poems world affect of literary quote thanks to after XVI century. All of these poets, following each other during the verse, certainly, didn’t understand Fuzuli’s

1 doctor of philosophy on philology, docent, chief scientific officer of Literary Institution named after N.Ganjavi of Azerbaijan National Academy of Sciences. Azerbaijan. Email: [email protected]. ORCID: hhtps//orcid.org/0001-6913-0469

574 creativity at the same level, and all of other writings of Nabati is completely them weren’t the same level. The new and related to the daily matters and minority part of them describes their his life. Even as a innovator, Nabati original characteristics in their writings especially brought the original in Fuzuli style, spirit and they succeeded. characteristics that had never been used Our outstanding classical poets like before to the ghazal genre. (Nabati, Vagif, Bahar, Zakir, Nabati, Seyid Azim 1968) are the craftsmen who owes special style, It is completely fundamental their own voice, breathe and shows to name Nabati as “innovator” for authenticity in their ghazals. (Mir Jalal, Scientist, and scientific statue confirmed 1994). by the whole spirit and texture of the It is not coincidence to poet’s creativity. Indeed, though he was mention Seyid Abulgasim Nabati the influenced by the representatives like dissimilar person of XIX century of Nasimi and Fuzuli of our native Azerbaijan literature between the poets literature, Saib Tabrizi, Hafiz Shirazi and who have detached poetic style and Jalaladdin Rumi of classical Persian created after genius Fuzuli. The poetry, how much he benefited researchers of the literary heritage of the centuries’ traditions of ashug poem, the poet put forward the ideas that confirms literary heritage of Nasimi is new and this thesis and continues to develop it. unparalleled for his poetics and For example, Abalfaz Huseyni expression style. Although the especially noted this aspect in the traditional impression of characters introduction which he has written it to ‘system at first sight he created within the academic cadaver of Nabati’s the frame of strict laws exactly identified writings. Knowing the Arabic, Persian, of the genre of ashug poem and classical and Turkish into their quickness the poet poetry, the creativity of poet owns has read the classics and felt, loved them detached, specific rhythm and pathos but didn’t not imitate and repeat them. altogether. He got training from masters, but the Although we come across that subject from his environment and time. kind of exact observations and certain The context of ghazal, ode, quatrain and concrete dissections, unfortunately it

575 should be noted that the poetry of poet organically combining and approaching wasn’t investigated in completed form in of oral folklore and classical terms of the main parameters, whereas literature”.(Gorkhmaz Hazioghlu, 2006). implementation of such kind of research That process was accompanied with should allow identifying the factors “dynamic progress of normative- which stipulating the originality of his individual, prevailing gradually literary heritage of the poet. This is standardization of individuality something to consider separately that all “(Gorkhmaz Hazioghlu, 2006). In the elements of poetics system, small situation of continuing the traditional elements seeming insignificantly at first genres, the individuality of author is sight take part at the requiring stylistic trying to express itself not in the petrified dissimilarity and originality. components of poetic system but in the Emphasizing it is not unreasonable. So, weak elements resistance and he as usual in the investigations relating to succeeded in it. These characteristics are poetics of our classic poets, the main accompanied with all its brilliancy in attention was given to poetic figures, Nabati poetry and our goal is to explain means of poetic expressions and the main manifestation of it. metaphors, the second place is set off for rhythm and harmony matters playing the Research Methods main role in the formation of individual The characteristics of using style, or they have been forgotten possibilities of different kinds of completely. This attitude for medieval reiterations, poetic address and poetic century literature directed to the creation inquiries in the research were of new variants of traditional motive investigated, and used from analytical performing as invariant of creative dissection and dissection methods, initiative is probably acceptable. But dissection of activity products in this Nabati is a representative of new era base. Standing on the basis of Modern literature and a participant of “the literary criticism it is referred to the formation process of new literature general theoretical ideas, thesis in the differing from both the oral literature, research. and written literature in quality,

576 Development literary spheres, but great masses and of In Nabati creativity along with addressing continuously to the writing of the several aspects, different kinds of poet by folk musicians (ashug) and reiteration are not only the main khanandas. characteristics of poetic system, but are Let’s interpret the reiterations at the level of the dominance of literary in Nizami diwan on the basis of style of the poet. [ Kiseleva L.F., 1982] . repeating of grammatical form and We can say certainly that we couldn’t constructions, words and voices. come across the second master who uses Voice reiteration takes a great the semantic and rhythmic possibilities role in reiterations system of Nizami’s of reiterations like him between the diwan. The poet succeeds in increasing modernists, predecessors and followers the aesthetic effectiveness of literary of the poet. By the way, let’s say that quote with the help of following each literary reiteration (especially voice other during the whole poetics piece and retraction, alliteration) was one of the couple, verse, phonemes (firstly main characteristics of ancient Turkish consonant sights). In this meaning it poetry.[Steblevva I.V. 1965]. couldn’t be looked only as a”tinsel” of The same aspect is observed in the reiterations of phonemes in the the epopee of “Kitabi-Dada- poetics text. Voice reiteration is in an Gorgud”(Kamil Valiyev, 1981) . And organic relationship with the semantics this allows saying that giving the main of the poem and stimulates the creation role to the reiterations of poetic forming of different associations in the brain of of the text (it shouldn’t be doubt that this the reader, thus, it allows aesthetic aspect is the result of conscious activity enjoying maximally from the literary of the poet), Nabati has continued and word. In other word, phonological developed both the national literary formation of the text makes directly traditions , and tried to benefit from the sense”[Lotman Y.M., 1996] Let’s see semantic-stylistic possibilities of native the examples from Nabati’s diwan. language in the maximum way. It is one poem Eşq odun doğru imiş, the main reasons of being reputational, gizləmək olmaz, billah popularity between not only in the

577 Alışıb öz-özünə, düşdü fire has fallen down”, although the basic sözüm dastanə [Nəbati, connection of “fall down” verb is related 1968]. Yaxud: to “epopee”.(fall into the epopee) Alışı şəm kimi, odlaşı In the second example “sh” pərvanə kimi Can verər yarə, Nəbati kimi, sound which was used 3 times serves to biar olmaz [Nəbati, 1968]. create the effect of “burn with desire”, Və ya: Your love on fire was true, it apparently it is achieved to revive of couldn’t be hidden, I swear physical process with the help of voice. to God. My word has flamed, fall The third example has completely into the epopee(legend)… different tincture. “Sh” phoneme is not Or It ignited like a candle, “fire” and considered to awaken “water” become inflamed like fire notion. “sh” voice in the first two verses He gave his soul to his lover like Nabati and prepare the ground to the ”arrival” (tear) He wouldn’t be without a of the third and main concept, semantic lover.. row closes with the word of “shatt” (tea), Or attentive sensible reader could hear the Yar yolunda verdim başı, Yastıq etdim qara daşı. murmur of the water. We think that, Döndü billah, gözüm yaşı these samples are enough to inform that

Şətti-Bağdadə, Bağdadə Nabati has used the voice reiteration how

skilfully. I was at my last grasp for my lover Word reiteration prevails in I made a pillow of grave Nabati diwan in terms of the quantity or stone. My tear has turned, I swear the manifestation forms. The simplest to God form of word reiteration serving to

persisting on any idea, emphasizing of We see the repetition of “sh” definite point, strengthening the meaning sound, but the semantic function of this is starting with the same word: reiteration in every verse takes a Gəhi bir gül ayağında düşüb detached character. In the first example məstanə xab etmək, “sh” voice is focused on creating the Gəhi saqi ayağında şərabi- connection directly related to “love on xoşgüvar istər fire, ignite” units besides and “love on

578 Sometimes he fall into the feet of the grammatical forms used richly by of lover Nabati is the same model construction of And sometimes wine waiter postpositional attributive group. Those wants pleasent a glass of wine constructions allows understanding In the beginning of every verse easily, dividing into syntagmas selected “gahi”(sometimes) describes different clearly of poetic saying. For example, situations of the hero and gives a chance let’s have a look o the following verses to the comparison of them. The from the ghazal with radif “request(arz)” homonym word of “foot”(ayag)( “foot” of the poet. in the first one, and “the glass” in the first one) strengthening this comparison .The Gərdişi-çərxi-fələk olmasa poet has used from this method in his kamımca gər, Dərdi-dilim eylərəm şahi- “goshmas’. In some cases repeated Xorasanə ərz. words takes all space of the couplet. Mətləi-şəmsi-züha, məzhəri- nuri-hüda Fəxri-dili-Mürtəza, Allah, Allah, bu qədü qamətə mənbəyi-ürfanə ərz

əhsən, əhsən! If I couldnt live enjoyable in Güli-həmradı bu, ya çöhreyi- this period I will say my pain to gülgun, gülgun Khorasan shah Oh God, Oh God, well done, Matlai-shamsi –zuha, mazhari-nuri-huda well done to this fine figure Fakhri-dili-Murtaza, Her face is like a flower’s color, manbayi-urfana arz. like a flower’s color Post positional attributive group

with two compounds and three The reiteration of grammatical compound replacing each other in these form and constructions in Nabati diwan verses are the main speech units. Nabati is performing as important means of used efficiently the grammatical rhythmic formation of the text and possibilities of native language for the create conditions of etched on the same purpose. memory of the poem and focusing on the Özü göyçək, sözü şirin, main words and phrases of reader. One dəhəni qonçeyi-tər

579 Zülfü ənbər, boyu ərər, gözü We had a pleasent wine party, fəttan gəldi. wine party Qaşları qövsi-qüzeh, kipriyi ox, incəmiyan Wine waiter, don’t stand, give Xalı filfil, ləbi mül, arizi the glass, glass taban gəldi [Nəbati, 1968]. It is repeated completely with She is beautiful, her words are “matla” as in ghazal. At this time the sweet and lips are fresh like aflower bud poet uses both the lexical reiteration and Her hair is valuable material, repeated rhyme takes over the function height is long, her eyes are amazing of any kind of radif in poetics text. Her brows are like a In many cases the poet repeats rainbow,lash is like an arrow, graceful the last words of the verses that not have Her birthmark is like a black been used the rhymes, besides rhymes pepper.. and this proportion which expected Specific imagination of literary during the whole ghazal gives a special reiterations in Nabati creativity is rhyme rhythm to the poem. If the word rhyme is reiteration. Speaking about Rhyme the component of post positional reiteration, using of the same word as attributive group combination, the poet rhyme in different verses and considered uses only the second part of it during the the reiteration of rhyme in the end of the reiteration. It is interesting that Nabati couplets. We should note that this uses widely from this method in his method is specially peculiar aspect to writings in the forms of ashug poem, Nabati creativity, no poet benefited from especially in garayli. Let’s note this fact, this method in this scale neither before it has been used rhyme reiteration in the nor after it. Moreover he attracts couplet endings of 50% of the poems in attention with different kinds of this genre, namely in four of 8 garayli imagination. entered to the 1968th edition of the Tutdum genə xoş həngilə writing of the poet. meyxanəni, meyxanəni. Of course, the above-mentioned Saqi, amandır, durma ver doesn’t cover semantic-methodicl and peymanəni, peymanəni rhytmo-melodic functions and all the imagination forms of literary reitreations

580 in Nabati diwan, but we think that these “drink server” , “hey shux”, “hey my are enough for understanding how much eye”, “hey flower”, “hey nightingale”, the richness of arsenal of rhythmic “Hey Ali” and etc. The poet turns it to formation of the text in Nabati poetry. the address objective even the abstract notions with khitabs like ”hey love”, so Discussions that takes interest as a fact describes the Using of literary khitab and scale and scope of the dialogue. The queries Nabati poetry is related to rough addresses like “say, donkey”, “hey directly to the character of lyrical hero. donkey” take interest as a usage of these So, the lyrical hero of the poet sometimes folk sayings came across in Nabati’s steals away and doesn’t communicate creation. [Nabati, 1968] with anybody and listen to the voice of The poet, by the way has used his heart, talk to himself, and express to the extended kind which considering the people stating to public in different most impressive form and saying with forms the results of self-analysis and high intonation of literary khitabs. In self-consciousness and introspection. In most cases, literary khitab is in the scope other words, the hero of the poet is in the of the whole verse and provides reaching dialogue permanently with himself and the highest level of expressiveness of the others. This dialogue performs as a text. conditioning factor the richly use of In classical East poetics the role literary khitabs.-the important feature in of the literary khitabs in the poetics text Nabati creation. haven’t been taken notice and Nabati is one of the poets who emphasized its quality typical to Quran using skilfully of expressive possibilities style. Khitab in Quran is used in the of literary khitabs. We could come purpose of leave a strong impression for across the less samples the literary listener..For example, “Hey righteous khitabs which have not been used in his persons”, “hey prophet” and etc.[ Mahira diwan. Even some poems were formed Guliyeva].Functional and stylistic on the literary khitab in the whole. We possibilities of literary khitabs have been come across the literary khitabs “hey analyzed in pathological letter in zephyr”, “my God” “hey faithless’’, Medieval century , their different kinds

581 have been determined. The most answer” and “istifham” were interesting from these kinds is literary determined. In the first one, the poet method named “abstractive-khitabi”. asks a question in one verse or couplet, Saying “abstractive-khitabi, it is and answers it in another one, sometimes considered that khitab belongs to the the poet asks the question to himself, stranger seemingly and internally to and answers himself. [Musulmanokulov himself. Nabati has benefited repeatedly R, 1989] Nabati has used this kind of as a stylistic method increasing the literary inquiry slightly. However Nabati emotional effectiveness from this kind of give a place to the rhetoric inquiries literary khitab.[Nabati, 1968] which make them an active participant of As a rule, this kind of khitabs poetic communication more than poetic using in the “magta” verses of ghazals is inquiries created on “I said- he said the indicator of the ability looking at “construction plus adjusting the reader himself from outside of lyrical hero, in to this mood , expressing the emotions other word, not only with outside, and in and excitement of lyrical hero, this the dialogue with himself and being in complies with the figure named” possibility. istifham” of Eastern poetics. This dialogue logically stipulates richly Rhetorical inquires are using of literary inquiry of other considered the beneficial method of an rhetorical figure in Nabati’s writings. emotional reaction, and this is explaining Literary inquiries manifesting in highly- with the existence of two special context quality semantic and functional shades, plans in the same figure. So, here is a strengthening the emotionality of poetics “question” from one side and from the speech and attracting attention of the other side there is a “reply” which reader in Nabati’s poets. expresses confirmation and denial. Both As literary khitab in Classical plans are activated at the same time Eastern poetry-study , the connection during using of rhetorical question. between literary inquiry and “ilahi Nabati knows well these characterises of kalam” “Gurani Karim” is concentrated, rhetoric question sometimes he doesn’t the usage of this method by poets was avoid to ask “questions” without any appreciated and its kinds of” question-

582 answer in some couplets inside the Nabati’s diwan doesn’t cover ghazal. imagination forms of literary reiteration, Sometimes rhetorical inquiries semantic-methodical and rhythmo- include the literary khitab that this gives melodic functions, but we think that in a chance assuming high intensity of one hand it’s enough to understand the literary effectiveness of the text. causes of adjusting easily of the music of And this shows that rhetoric- poet’s poems and in other hand the stylistic figures and literary expression richness of the arsenal of rhythmic methods in Nabati’s poems are in the formation of the text in Nabati poetry. mutual connections and on the basis of Nabati could seal complicated mechanism and creates the individually to the tashbehs which he whole system. So, dissection of the benefited richly in his creativity as the separate levels of literary system of other components of allegory system. poet’s creativity carry conditional Literary imagination methods carry character. The uniqueness of Nabati concrete function and subjective- poetics is provided owing to the unity of cognitive, descriptive reflects the main different description-methods . parameters of aesthetic attitude of the Back to the use of the poet in to reality, and creates a clear methodical possibilities of grammatical imagination about the directions and forms, literary khitab and inquiries scale of literary mastery of him. Back to providing the intonation diversity, the use of the methodical possibilities of rhythmic reiterations based on language grammatical forms, literary khitab and stixias from metaphors and assimilations inquiries providing the intonation are the typical feature to the development diversity, rhythmic reiterations based on inclinations of the latest period. Nabati is language stixias from metaphors and master who leaves behind not only assimilations is the typical feature to the modernists but also his followers. development inclinations of the latest period. In this meaning, we could say Conclusion. that as a whole Nabati‘s poems takes Summarizing the given place not only in series of unique information we can conclude that

583 samples of Azerbaijan library but also the world’s poetry.

References

Mir Jalal(1994) Fuzuli creativity, Baku, Maarif publishing house. Nabati(1968). Writings. Interpretations, introduction and compilation are belongs to Abulfaz Huseyni. Baku, E.A.Publishing house. Gorkmaz Hazioglu(2006) Individual style in compilation of poetics forms- History of Azerbaijan literature. II book Baku, “Elm’ publishing house., 71-104 Kiseleva L.F.(1982)).About dominant style.. Theory of literary styles. Modern aspects of study, Москва. Stebleva I.B.(1965) , Turkish poetry VI- VIII centuries, Moscow. Kamil Valiyev(1981) Poetics syntactics of Azerbaijan language. Baku, ADU publishing house