Fecha de presentación: diciembre, 2019, Fecha de Aceptación: enero, 2020, Fecha de publicación: marzo, 2020 THE POEM OF NIZAMİ GANJEVİ’S MASNAVİ, SEVEN BEAUTIES İN TASAVVUF CON- TEXT EL POEMA DE NIZAMİ GANJEVİ’S MASNAVİ, SİETE BELLAZAS EN EL CONTEXTO DE TASAVVUF Khuraman Hummatova1 E-mail: [email protected] ORCID: https://orcid.org/0000-0003-3015-3107 59 1 National Academy of Sciences. Abserbayan. Suggested citation (APA, seventh edition) Hummatova, K. (2020). The poem of Nızami Ganjevi’s Masnavi, Seven Beautıes in Tasavvuf context. Revista Conrado, 16(73), 449-452. ABSTRACT RESUMEN Tasavvuf motives are seen openly in Nizami’s crea- Los motivos de Tasavvuf se ven abiertamente en la tivity particularly in his “Seven beauties” poem. But creatividad de Nizami, particularmente en su poe- the use of these motives dont give an opportunity ma “Siete bellezas”. Pero el uso de estos motivos no to consider presentation of tasaffuv-irvan thoughts da la oportunidad de considerar la presentación de of the poet as whole. That is why, Nizami ws a well pensamientos irlandeses de buen gusto del poeta known wisdom philosopher. As all researchers en su conjunto. Es por eso que Nizami fue un co- confirm, Nizami used the ideas which he conside- nocido filósofo de la sabiduría. Como todos los in- red satisfactory although Nizami attracted the con- vestigadores confirman, Nizami utilizó las ideas que temporary ideas of the cultural heritage pre him. consideró satisfactorias, aunque Nizami atrajo las Suphizm was a source of thoughts with its contem- ideas contemporáneas del patrimonio cultural que porary ideas and motives for Nizami. The poet was le precedieron. El sufismo fue una fuente de pensa- not indifferent to this source an dused suphi idea mientos con sus ideas y motivos contemporáneos and motives. Namely, suphi thoughts plaid a role para Nizami. El poeta no era indiferente a esta fuente of a mean forgiving its ideas to him, the poet never y utilizaba ideas y motivos sufíes. Es decir, los pen- fell under influence of sophiideas. It show that the samientos sufi desempeñaban el papel de un medio poet approached sophism as creativity by using ta- que perdonaba sus ideas para él, el poeta nunca saffuv in his “Khamsa” poem and almost ddnt use cayó bajo la influencia de las sophiideas. Muestra sophism in his “Isgendername” poem. Poet didn’t que el poeta abordó el sofismo como creatividad create in the image of protagonist Bahram image of usando tasaffuv en su poema “Khamsa” y casi no lover(ashug)-hero,which passed through sufi’s four usó sofisma en su poema “Isgendername”. El poe- stages Sharia-Faith-Ingenuity-Truth path of perfec- ta no creó en la imagen del protagonista Bahram tion, but he created definately different hero by using la imagen de un amante (ashug) -héroe, que pasó enough 4stages perfection scheme and sufi’s model por las cuatro etapas del camino de perfección de of seven steps Faith. la Sharia-Fe-Ingenio-Verdad de Sufi, pero creó un héroe definitivamente diferente usando suficiente Keywords: perfección de 4 etapas. esquema y modelo de siete Nizami Ganjavi, Khamsa, “Seven Beauties”, ta- pasos de Sufi Faith savvuf, levels of moral perfection Palabras clave: Nizami Ganjavi, Khamsa, “Siete bellezas”, tasavvuf, niveles de perfección moral. Volumen 16 | Número 73 | Marzo-Abril | 2020 CONRADO | Revista pedagógica de la Universidad de Cienfuegos | ISSN: 1990-8644 INTRODUCTION Then I hit my frame elsewhere. A great master of the literature of Azerbaijan Nizami I fell in love with Leyli and Majnun. Ganjevi’s left a grandious heritage with his Khamsa in the I found a piece of saga, history. Indeed, the kings of the Nizami’s period expres- The name was printed on the «Satellite of the Week» sed their thanks to Nizami as their names were included Now I will build a bond on the property. in the history. Besides enriching the Azerbaijan literatu- I have been teaching since the Alexander age. re with his five mesnevis, the poet laid down ground for The interpretation of the name “Haft peykar” is arguabel. emergence of a hundred of poetric works. Every mesne- There are various interpretations of the name by the resear- vi’s of the poet posseses internal content which reflects chers. R. Aliyev argues that the poem used to be called the stages of cognitive wisdom along possessing external as “Bahramname”. Bertelğs (1962), practicaly translated meaning. The fourth poem in the poet’s Khamsa is “Seven the named a “seven beauties” but also mentioned that it beauties”. Nizami took the content of this poem from the is appropriate to translate it as “seven portrait” as well. life of king Bahram of the Sasani kingdom who lived be- According to Kulizad t is much appropriate to translate it fore cristianity. In the work, Nizami Ganjevi approached to as “Yeddi obraz” (seven caracters). Aliyev (1987), thinks Bahram’s love from the point f external as well as internal “Yeddi ulduz” (seven starts) is much better interpretation point of view and submitted it from a different view. The and subsequently Nazila Abdulqasımova considered it as poet introduces in the depiction of the king’s love adven- a righ version of interpretation. It is very interesting, al- ture with girls an encoded formula of cognitive-scientific though Mehdi Kazimov among the researchers on Nizami point of love between a person to person, between a per- accepts the interprettion of the name of the poem as “sev- son and nature, between a person adn universe. From this en beauties”, but keeps the name as “haft peykar” in his point of view, Nizami’s benefiting from sophism presents stuies. These facts are a sign of various views on the name different points and they are in a different content. He cre- of the poem. Our aim is related to the name “peyker” who ated a new type character through Bahram’s figure suf- is the subject of arguments. Rzasoy (2003), who collected ficiently using Shariat-Tariqat-Marifat-Hakikat four staged all dictionary meanins of this word shows that the word perfection, and seven stages Tarikat model of sophism. “peyker” causes two core meanins: I. Meaning related Rzasoy (2003), who conducted a fundamental research to the layers of human-society-ethno: figure, corps, hull, on Nizami Ganjevi’s “Seven Beauties” writes about the use body, outlook, substance, spirit, face, sculpture, picture, of sophism: Nizami created a classic sophi character in description, idle, panorama, form, beautiful, flag; II. The the figure of Bahram. Taking benefit from theoretical and meaning related to the layers of place-space : star, planet, technical elements of perfection model in sophism, the plane, sky and numbers. poet applied other philosofical visions and approaches, As it is seen, all elements of the world of and essentialy created an original unique character. This the existenced are linked up a word and made a unite character, besides the sophism features is not a charac- symbol. Symbolizing the word or symbolizing one or more ter-figure made from the classic sophism model. It hap- elements of the world by the word such as “peykar” are pens in the mystical relation of the suphis with the God, related to sophism and its idea of vahdati-vucud. that is to sayt it is possibility of a journer towards the God. At the end of the way, Bahram does not become a cha- The depiction of the world by sophis are racter living with mystical passionate relations. Regarding rich of symbols and words. Words such as hair, face, wine, to this argument, I would like to emphasize that there are dream, etc. have their own symbolic meaning in sophism. enough facts proving the use of souphi ideas and motives If Yunus Emre expresses it as “my language is the langua- in the work. This is not our aim to study all of them in here. ge of the bird, my country is a country of friend”, from this point of view Nasimi told about this symbolic language DEVELOPMENT as “this is the language of the bird and only Suleyman The name of the fourth poem of Nizami called “Haft pe- knows it”. All of these symbolic words being linked up with ykar” in the persian language. The poet himsel mentions vahdati-vucud represent various elements of the world in in “Isgandarname”: vahdat (unite). But in here, Nizami attempted to reflect all essence and meanings of the theory f vahdati-vucud by Day and night I could not get tired, exercising another way of creativity . The essence of va- I first wrote a «personal work». hdati-vucud theory is the unity of all elements of the exis- Gather the sweetness and sweetness of it, tence. Almost all elements of the existence got united and I made a saga for «Khosrov and Dessert». linked up in the word “peykar” and formed unite. It is not a 450 | Volumen 16 | Número 72 | Enero - Febrero | 2020 CONRADO | Revista pedagógica de la Universidad de Cienfuegos | ISSN: 1990-8644 coincidencec, it s a philosophical-poetic case, thought by sign is directly related with the idea of vahdati-vucud . As Nizami. The poet depicts in “seven beauties” poem that all elements of the existence unite in the theory of Vahdati- he created seven symbols: vucud, all elements of the universe unite in a single sign The pace is stylish for photographers, in the Seven Peykar palace. If we have a look through the elements of the existence which are joined eacher other For those who love content, there is a meaning. in this palace, we may see that there is no any element of It is an enclosed enclosure, full of kind, the existence left that has not been symbolized in here: And beautifully filled phrases are his key.