Words, speech and national style of expression in nizami ganjavi’s work

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Baki State University,

Words, speech and national style of expression in nizami ganjavi's work

Sadigova Sevda Muradkhan gizi Doctor of philosophy in philology, associate professor

Baku, Azerbaijan



Abstract

The aim of the article is to consider the national style of expression in the works of the great Azerbaijani poet Nizami Ganjavi, related to the word and speech in this area. The article deals with the origin and creative power of the word, its essence, the meaning of the word, etc.

Methodologies and methods. The author in his research widely used such methods as contextual description, comparative method and other general scientific methods.

The novelty in the article is manifested primarily from the posing of such questions in the work of N. Ganjavi as the expression of philosophical thought in literary language, the characterization of the external and internal semantics of poems, showing examples of the masterful influence of the poet-philosopher on the turkish poetry of subsequent centuries. The article also provides information on the specifics of the development of the turkish vocabulary, syntactic models and forms of the national language in the works of N. Ganjavi in the field of national identity.

Results and conclusions. At the end, all the ideas raised in the study are summarized and it is noted that one of the main linguistic facts is the phraseological units used in the persian (farsi) works of Nizami Ganjavi. It is emphasized that phraseological units are the product of the first metaphorical system of national thought. In this sense, a number of phraseological units used in the works of persian (farsi) Azerbaijani writers in their various studies, as well as in the language of N. Ganjavi, are considered translations of linguistic facts belonging to the Azerbaijani turkish language.

It is also emphasized that the creative power of Nizami Ganjavi, who became famous in the world as a poet, philosopher, scientist, spiritual leader, based on inspiration, scientific, secular knowledge and spiritual evolution, conveys boundless wisdom from the world of words to humanity. This is a direct presentation of the philosophy of creation, scientific knowledge, cosmogony, which begins with a word, in figurative language. This worldview can be systematized as a mechanism of creation with the existence of an absolute idea, an energy leap of an idea, the creation and sequence of the entire universe. In fact, in modern times, at the scientific, psychological and esoteric levels, the creative energy of the word in various fields of science, the power and materialization of thought and word are widely discussed.

Keywords: Nizami Ganjavi, creation, word, lexicon of turkish origin, national pattern



Анотація

Садігова Севда Мурадхан гізі Доктор філософії з філології, доцент, Бакинский державний університет, Баку, Азербайджан,

СЛОВО, МОВЛЕННЯ ТА НАЦІОНАЛЬНИЙ СТИЛЬ ВИРАЖЕННЯ У ТВОРЧОСТІ НІЗАМІ ГАНДЖАВІ

Мета статті розгляду національного стилю вираження у творчості великого азербайджанського поета Нізамі Гянджеві, пов'язаних зі словом та промовою у цій галузі. У статті розглядаються походження та творча сила слова, його сутність, значення слова тощо.

Методології та методи. Автор у своєму дослідженні широко використовував такі методи як контекстуалтні описи, порівняльний метод та інші загальнонаукові методи.

Новизна у статті проявляється насамперед із постановки таких питань у творчості Н.Гянджеві, як вираження філософської думки літературною мовою, характеризування зовнішньої та внутрішньої семантики віршів, показ на прикладах про майстерний вплив поета- філософа на загальнотюркську поезію наступних століть. У статті також наводиться інформація про специфіку розвитку тюркської лексики, синтаксичних моделей та форм національної мови у творах М.Гянджаві у сфері національної самосвідомості.

Результати та висновки. Наприкінці узагальнюється всі ідеї, зачеплені в дослідженні, і зазначається, що одним з основних лінгвістичних фактів є фразеологізми використані в персомовному творах Нізамі Гянджаві. Наголошується, що фразеологізм є продуктом першої метафоричної системи національної думки. У цьому сенсі низка фразеологізмів, що використовуються у творах персомовних азербайджанських літераторів у своїх різних дослідженнях, а також у мові Н.Гянджеві, вважаються перекладами мовних фактів, що належать азербайджанській тюркській мові.

Також підкреслюється, що творча сила Нізамі Гянджеві, який прославився у світі як поет, філософ, учений, духовний лідер, заснована на натхненні, науковому, світському знанні та духовній еволюції, передає людству безмежну мудрість зі світу слів. Це прямий виклад філософії творіння, наукового пізнання, космогонії, що починається зі слова, образною мовою. Це думка можна систематизувати як механізму твори з існуванням абсолютної ідеї, енергетичним стрибком ідеї, створенням і послідовністю всього світобудови. Насправді в Новий час на науковому, психологічному та езотеричному рівнях широко обговорюються творча енергія слова в різних галузях науки, сила та матеріалізація думки та слова.

Ключові слова: Нізамі Гянджеві, творення, слово, тюркская лексикалогия, національний зразок



Introduction

The great creative power of Nizami Ganjavi, who became famous in the world as a poet, philosopher, scientist, sheikh, is based on inspiration, scientific, secular knowledge and spiritual evolution, transmits boundless wisdom from the world of words to humanity. This is a direct presentation of the philosophy of creation, scientific knowledge, cosmogony, which begins with the word, in figurative language. The idea that the Creator, called “Supreme Consciousness” in philosophy, “created the universe with the word” Be “” is one of the main issues in all religious views and denominations, including the system of literary and artistic thought. This worldview can be systematized in the form of a mechanism of creation with the existence of an absolute idea, the energy leap of the idea, the creation and sequence of the whole universe. In this context, there is a correspondence between the “Be” command and the “instantaneous explosion” theory in physics. In fact, in modern times, the creative energy of the word in various fields of science, the power and materialization of thought and the word are widely discussed at the scientific, psychological and esoteric levels.

The aim of the article is to consider the national style of expression in the works of the great Azerbaijani poet Nizami Ganjavi, related to the word and speech in this area. The article deals with the origin and creative power of the word, its essence, the meaning of the word, etc.

The novelty in the article is manifested primarily from the posing of such questions in the work of N. Ganjavi as the expression of philosophical thought in literary language, the characterization of the external and internal semantics of poems, showing examples of the masterful influence of the poet-philosopher on the turkish poetry of subsequent centuries. The article also provides information on the specifics of the development of the turkish vocabulary, syntactic models and forms of the national language in the works of N. Ganjavi in the field of national identity.

Main matters. There is a logical parallel between the creation of the world and the creation of speech: in the beginning, the absolute idea, and in human activity, vibrations of thought and thought, energy waves n into sound, words and sentences, forming the structure of language and speech, serving the act of understanding. The origin of the universe from the word “Be” was the leading idea of the literary-artistic system in the history of Turkish literary thought, especially in Sufi poetry (Bilgin, 2014). poet ganjavi word

The essence of the word in Ganjavi's work, the secret of creation.

Ganjavi presents the formula of creation, this way of thinking in a more comprehensive spectrum, calls the word the first of the mysteries of the world, clarifies the secret of the word from the point of view that “Without the word, the world would not have a voice” ( Bilgin, 2014).

The beginning of the thought, the end of the number,

It's just a word, just a word, remember that.

These verses mention Pythagoras' idea that the universe is made up of numbers, and Ganjavi uses the phrase “the beginning of thought” to refer to the linguopsychological basis of speech: man thinks in words, and inner speech is formed in words in silence.

So, the word “be” comes from the Creator who gave the order of existence: The essence of the Creator is from its and hidden.

The universe sits under your banner.

Our existence is from you, and your existence is from your own essence.

Ganjavi does not sit above the Word to convey the value of the word, he sanctifies it by saying that the wealth of this world is only the word (Bilgin, 2014), emphasizing that he is higher than all beings.

When the pen first moved

The first letter began with a word.

When the veil of secrets is opened

From there, the word first fluttered .. (2014).

Thoughts about the origin and meaning of words are not only the product of Ganjavi's artistic imagination. It was for a scientist with scientific knowledge to speak in a language that people could imagine, figuratively speaking of invisible truths. The word science, which is reflected in his work, is an artistic expression, a figurative presentation of the philosophy of creation, the origin of which is determined by the all-Turkic mental system. This presentation continues in the following periods, in the works of almost all artists individually:

In the 14th century, in the language of I. Nasimi, these wisdoms sounded as follows:

Dinlogil bu sozu ki, candir soz,

Aliyu asimanmokandir soz.

0qli-kull or§u kursu, lovhu qolom,

Qar unsur, noh asimandir soz.

The Uzbek poet of the XV century A.Navai also considers the word as the beginning of creation and writes:

Concerning the word,

He was the first of all beings.

The word originated first, then the creature,

After the word came the whole universe.

Yunus Emre said more clearly:

O who knows the origin of the words, come and say, where does this word come from?

Those who do not understand the origin of the word think that this word comes from me.

The word is not flowing from the land, not from writing and reading This does not come from the walking people, but from the voice of

Halik.

To approach the word, to consult carefully, to act on the given word, to fulfill it - all these are based on the creative nature of the word.

The world and people created by words.

Even the artist, the philosopher, draws the picture of the creation of the world, which is created on the basis of words, in the works of the philosopher; The creation and establishment of some material realms are given in succession, systematically:

That, all these living and non-living things They were created by saying, “Be” (Ganjavi, 2004).

After the universe, Ganjavi dwells on the creation of man, explaining in detail that he is part of the divine plan, that he exists in the universe with a special order, the laws of creation. It speaks of two basic human qualities, material and spiritual, in other words, mind and spirit:

Not a sound, not a breath came from the word ... believe me:

The soul did not enter the uncreated body from the mud. (Ganjavi, 2014) Without the sound of the word, without the breath, that is, without the command to “be,” the soul did not enter the earthly body, only by this judgment man was created, possessed of mind and spirit:

Body takes the soul, the mind with your order,

You are the Creator and the Killer (Ganjavi, 2004).

As a scientist with scientific knowledge of the Ganjavi period, he gives information about the physiological structure of the human body at the scientific level in poetic language:

It put the head of the dream (eye) behind the curtain

It clothed the body of water with the garment of life ( Ganjavi, 2004).

In his verses, the outward and the inward complement me. In the first verse, the connection between the process of sight and sleep and the brain, the secret layer of real information, such as the covering of the eyelids, conveys the idea that the visible world is a dream, not reality. In the second verse, in addition to secular scientific information, such as the creation of the body from water and its composition from water, it is mentioned that the material body is the shirt of the soul, as it is accepted in Sufi philosophy.

In Ganjavi's works, man is fully described by his material and spiritual nature, and his spoken language and hearing, which belong to the system of life, seem to be the secret of such divine wisdom:

It raised the word bird's voice to the point of god.

It gave a sweet palm to the tree of the language,

It created the pearl of the ear for all kinds of words (Ganjavi, 2014).

The expression “pearl of the ear” combines nominative and inward meanings. The eardrum actually has a special physiological functionality. It acts as a protection for the brain. In the universe, man hears sounds and words in a tone that only the cerebral cortex can perceive, which is part of the divine order of the material world. At another point, Ganjavi considers the eyes and ears to be useful for seeing and hearing, and useless for understanding meaning and learning divine wisdom:

The eye, ear are extra things in nature.

They are the workers of the outer veil (Ganjavi, 2014).

Azerbaijan, in general, in the direction of the idea of Turkish poetry, the external eye is perceived as a means for the material world, and the inner eye, the eye of the heart as a means of helping to see, hear and feel the world of meaning. Two centuries after Ganjavi, Nasimi expresses this opinion as follows:

There is no love in the soul, what is the use of news in the tongue?

What is the use of light that did not see the eye?

In other words, words that are unaware of hearing, words that are spoken, and eyes that do not have the light of vision have no meaning and are of no use to human beings.

National language units in Nizami.

As the secret of the word is revealed in parts in Ganjavi's works, as the linguistic-psychological bases of speech are clarified, the national identity

and national thinking system of the artist are also seen within the poetic language. The Turkism in Ganjavi's words manifests itself in terms of content, plot and language.

Research shows that many national units have been developed in his Persian-language work. H. Arasli, a prominent researcher of Ganjavi's works, in his article. ”Folk words, expressions and proverbs in Ganjavi' ” (1942) presents a large number of Turkish origin words used in the poet's works: `xatun', '?ah§', `soncaq', `qolavuz', `kulung', 'gordok',`tutuq', `ala?uq', `tutmac, `yaylaq'; `balinc', `bo§qab', `qa§iq', `qab', `qazan', `corab', `?ariq', `qay?i', `do§ok', `duymo', `olok', `qi§laq', `yaylaq', `qifil', `tagar' (measurement); `a§', `dolma', `quyma', `qaymaq', `qatiq', ` ki§mi§', ` findiq', `qurut', `gilas', `tutma', `armud', `ordu', `qo§un', `suvari', `5avu§', `boluk', `minba§i', 'yuzba§i',' yaraq-yasaq', `?adir', `tufong', `5axmq' and etc. (Nazarova, 2021)

In M.Rasulzade's research article “Azerbaijani poet Nizami” (completed in 1941, published in 1951) Turkish origin words are presented in the original and with translation: 'ala5uq', 'amac', `ekde§ (mixed of two substances, in the sense of Amalgam), 'beyraq', `bilok', `bisraq' (a camel), `tutuq' (cover), `tutmac' (Turkish dish), `cok' (a lot), '?ali§', '5avu§', '5irkin', `dag', `iylaq' (pasture), `sav' (to defend: to defend an offer), `sancaq', `klavuz', `qirmizi', `Gur' (Kur river), 'nayi-turk' (military pipe, Turkish neyi), 'u§aq', 'utsaq' (room), 'yataq', 'xirxiz' (Kyrgyz), 'qif5aq' (kipchak), etc .(2011)

`Ala?uq' - Front

Che konad be paye-pilan ala?uqe-torkmani (How does the front of the enemy stand on the elephant's foot?) 'Amac'-arrow throw distance. Target (available in “Divan-i lugot it- turk”); (2011)

Setade qeysor-o-xaqan-o-fogfur Yek amac oz bosate-pi§goh dur.

(Caesar, Khagan, and Fagfur were one goal away from the front line.) (2011)

`Tutmac' - the name of Turkish food Ari anra ke, der shekam dohol ast,

Barge totma? beh ze barge gol ost (Who is hungry like a drum,

Tutmac leaf is better than rose petal) (2011)

The lexical units of the flag, which means the flag in the modern language, and the pin, which historically express the same meaning, are used in the language of Ganjavi with the same semantic capacity.

Interestingly, in one of the verses he divides the word flag into two parts: a pin on a pole and a flag on a fabric:

Porvin ze horir-e zordo-ozroq Bor soncoq-e zor ke§ide beyroq

(Parvin's star draws a yellow silk flag on a gold pin); ( Rasulzadeh,2011)

Hezar-o-?ehel soncaq-e pohlovi Rovan dor pey-e rayot-e xosrovi

(One thousand and forty Pahlavi starboards were moving behind the king's flag); (2011)

'Qirmizi' - the color we know §ob ?o araye§ degorqun saxt Kohli onduxt, qermezi ondaxt

(The night took a different turn, leaving the redness and bruising) (2011)

`Qirkinlik'- Ugliness Be siyahi boso cohan binod Qekini bor siyah no ne§inod

(The black eye sees the world. There is no ugliness in black.) (2011) The morphological features of the Azerbaijani language are also seen in Ganjavi's work: the suffix `-lik','-dash' as `-lax', `ta§' as which is still used in our language, is added to Persian words: `song+lax(stony),

div+lax(hugement); xace+ta§(khace, master or those whose masters are one), xeyl+ta§(members of a tribe). (Rasulzadeh, 2011)

One of the main linguistic facts is the phraseological units in Nizami's Persian-language work. T. Hajiyev considers phraseological units to be the product of the first metaphorical system of national thought (2016). In this sense, a number of phraseological units used in the works of Persianspeaking Azerbaijani artists in various studies, as well as in Ganjavi's language, are considered to be translations of linguistic facts belonging to Azerbaijani Turkish:

Qe§mrosidegi - invisibility;

Qe§mzodo - evil eye said;

Be dosti-xod tobor bor payi-xod zod -he strikes an ax to his foot with his own hand ;

Biya ta koc ne§inim, rast quyim -let's sit crooked and talk straight ;

Kos no quyod ke, dug-e mon tor§ost - no one will say that buttermilk is sour. (2016)

Hajiyev, based on the opinion of the eminent Ganjavi scholar Arasli, writes that these expressions and parables are not developed in the language

of Persian artists before Ganjavi, even in the language of the great lexical- phraseological capacity Firdovsi, although they are often found in post-XII century Persian literary language. So, since these phraseological units of the Azerbaijani language have no equivalent in Persian, artists such as Ganjavi and Khagani used literal translations that enriched the Persian language, making them feel their ethnic and national identity (2016).

Although Ganjavi writes in Persian, he uses syntactic patterns in accordance with the national language system, and passes the national literary language pattern to the next level at a creative level. In this regard, in the 13th century, I. Hasanoglu wrote in the style of Ganjavi and reached us with the words: 'Taken my heart a pleasant, lunar, charming charm, What charming? Charming witness. What witness? Witness master'. This ghazal of Hasanoglu is in the same pattern as Nizami's “Qel delbor” ghazal.

As noted in the research, this pattern existed in the works of Persianspeaking Turkish poets before Hasanoglu. Abdulvas Jabali, a Seljuk emperor Sultan Sanjar (1115-1157), who lived in the first half of the 12th century and was one of the palace poets, wrote a 60-line solemn poem in praise of the ruler and Ganjavi's ghazal:

§odom bor suroti a§iq ki, bor moh mikonod qovga,

Qe surot? Suroti-dilbor. Qe dilbor? Dilbori-ziba?

(I fell in love with a picture that raises the moon, How is the image? The image that carries the heart. How the carry the hear? it carries the heart with beauty) (Babayev, 2019).

What? The pronoun has a rich functionality in the language of Azerbaijani and Turkish literary examples. How is this language unit? Which one? Why? Can replace question pronouns, as well as reinforce meaning by working as a habit.

Although the linguistic facts of the pattern presented in Hasanoglu's ghazal, the first Azerbaijani-language example of Divan literature, are superfluous, they correspond to the national syntax as a model, are actively used in the sentence system of colloquial language: neither beautiful, nor good, nor bitter, nor or event, nor bad. The syntactic form expresses the quality of the sign, the degree of the event, creates emotionality and expressiveness.

In the language of the Book of Dede Gorgud, the stylistic functionality of the pronoun is manifested in the same way: `Nagahandan Doli Domrul ?apar yetdi; aydir: “Moro qavatlar, no aglarsiz” (1999). Why are you crying? That is, why are you crying? Replaces the question. So, the model used by “The book of Dede Gorgud”, Ganjavi, Hasanoglu and other artists comes from the vernacular.

In Ganjavi's work, the language of the “The book of Dede Gorgud” is another linguistic unit and model. Arasli noted in his researches that khani- khanan, shahi-shahan izafeti used in the works of Ganjavi is the translation of the title of khan of khans in the language of “The book of Dede Gorgud ”. Because the Persian equivalent of this title is Shah (Haciyev, 2005).

“Xani-xanan rovano go§t zi Qin,

Ta §ovod xanogiri-§ahi zomin”

(The khan of the khans left for China, to take the house of the king of the earth) (Nazarova, 2021).

Hajiyev notes that the phrase khanlar khan in the “ The book of Dede Gorgud” was translated and developed in the work of the 9th century Bulgarian poet M.Bashtu “Epic of Shan gizi”, it comes from the first Turkish version: `igidlor' (храбрый из храбрейшых), `sodaqotlilorin sodaqotlisi' (верный из верных), `ucalarin ucasi' (вершина из вершин) and etc.(2005).



Results and conclusions

At the end, all the ideas raised in the study are summarized and it is noted that one of the main linguistic facts is the phraseological units used in the persian (farsi) works of Nizami Ganjavi. It is emphasized that phraseological units are the product of the first metaphorical system of national thought. In this sense, a number of phraseological units used in the works of persian (farsi) Azerbaijani writers in their various studies, as well as in the language of N. Ganjavi, are considered translations of linguistic facts belonging to the Azerbaijani turkish language.

It is also emphasized that the creative power of Nizami Ganjavi, who became famous in the world as a poet, philosopher, scientist, spiritual leader, based on inspiration, scientific, secular knowledge and spiritual evolution, conveys boundless wisdom from the world of words to humanity. This is a direct presentation of the philosophy of creation, scientific knowledge, cosmogony, which begins with a word, in figurative language. This worldview can be systematized as a mechanism of creation with the existence of an absolute idea, an energy leap of an idea, the creation and sequence of the entire universe. In fact, in modern times, at the scientific, psychological and esoteric levels, the creative energy of the word in various fields of science, the power and materialization of thought and word are widely discussed.



References

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Література

1. Aynur Nazarova. Nizami Gancavi va onun asarlarinda Azarbaycan turkcasi Elm Tarixi va Elm§unasliq “Nizami Gancavi ili”na hasr olunmu§ XUSUSi BURAXILI§. Baki, 2021, 77 s. s.36-43

2. Azmi Bilgin. Turk tasavvuf edebiyyatinin mahiyyeti A. * Turkiyat Mecmuasi, C. 24/Bahar, 2014

3. Babayev Y.M.. XIII-XIV asrlar ana dilli lirik §eirimizin inki§af yolu. Monoqrafiya. Baki, «Elm va tahsil», 2009, 256 s.

4. Haciyev T.i. Seqilmi§ asarlari. I cild, I hissa, Baki, Elm, 2016, 496 s.

5. Haciyev T.i. Mikayil Ba§tunun “§an qizi dastan”i va poetikasi. Baki, Tahsil, 2005, 312 s.

6. Kitabi-Dadam Qorqud ala lisani-taifeyi-oguzan. Baki, Yeni Na§rlar Evi, 1999, 704s.

7. Nizami Gancavi. Leyli va Macnun. Baki, Lider na§riyyat, 2004, 288 sah.

8. Nizami Gancavi. Sirlar xazinasi. Lider na§riyyat, Baki, 2004, 264 sah.

9. Nizami Gancavi. Sirlar xazinasi. Qanun na§riyyati, 2014, 328 sah.

10. Rasulzada М.Э. Azarbaycan §airi Nizami. Baki, Taknur na§riyyati, 2011, 520 sah.

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