ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 5 / UIF:8.2 / MODERNSCIENCE.UZ
831
FURQAT IJODIDA AN‘ANAVIYLIK VA O‘ZIGA XOSLIK
Habibullo Jo‘rayev
Farg‘ona davlat universiteti professori, f.f.d
Nuriddinova Madinabonu
FarDU 2-bosqich magistranti
https://doi.org/10.5281/zenodo.7954487
Annotatsiya.
Ushbu maqolada Furqat ijodining sharq mumtoz she‘riyati bilan
hamohangligi, ustozlar an‘analarining shoir ijodiga ta‘siri, shuningdek, uning she‘riyatiga xos
bo‘lgan o‘ziga xos jihatlar haqida so‘z boradi.
Kalit so‘zlar:
An‘ana va izdoshlik, g‘azal, muxammas, tatabbu, taxmis, yor, oshiq, ishq,
hijron, hasbi hol.
TRADITIONALITY AND UNIQUENESS IN FURQAT'S CREATION
Abstract.
This article talks about the harmony of Furqat‘s work with eastern classisal
sharia, the influence of the traditions of the teachers on the poet‘s work, and the specific aspects
of his poetry.
Keywords:
Tradition and followership, ghazal, muxammas, tatabbu, guess, mistress, in
love, love, hijran, case in point.
ТРАДИЦИОННОСТЬ И УНИКАЛЬНОСТЬ В ТВОРЧЕСТВЕ ФУРКАТА
Аннотация.
В данной статье говорится о созвучии творчества Фурката с
восточной классической поезией, влиянии традитций его учителей на творчество поета,
а также о специфических аспектах его поезии.
Ключевые слова:
Традитция и преемственность, газель, мухаммаса, татаббу,
тахмис, влюбленные, любовь, хиджран, хасби хол.
Mumtoz she‘riyat mana necha asrlardan beri rivojlanib, sayqal topib kelmoqda. SHarq
mumtoz she‘riyati o‘ziga xos an‘analarga asoslangani bilan ham e‘tiborlidir. Kimki shoirlikka
da‘vo qilar ekan, o‘zidan oldin o‘tgan ijodkorlar ijodini qunt bilan o‘rganishi va ustozlariga hurmat
saqlagan holda bu go‘zal an‘nanalarni davom ettirishi hamda salaflari ijodidan o‘ttiz ming,
zamondosh shoirlari ijodidan esa yigirma ming bayt she‘r yod bilishi lozim bo‘lgan. An‘ana
ijodkor uchun mayoq vazifasini bajaradi. Iste‘dod egalari shu an‘analar asosida o‘z uslublari va
yo‘nalishlarini topadilar.
Furqat o‘z asarlarida o‘zidan oldin o‘tgan salaflarining ishlarini davom ettirish bilan birga
adabiyotimizda o‘z so‘zi va uslubini yarata oldi. Shoir uchun eng kerakli narsalardan biri mutolaa
ekanligini yaxshi anglagan Furqat navbati bilan sharq buyuk ijodkorlari asarlarini mutolaa qilib
o‘rganib bordi. Jumladan, sakkiz yoshida
olti oy mobaynida Farididdin Attorning ,,Mantiq ut-tayr‘‘ dostoni mutolaasiga band bo‘ladi. Keyin
Xo‘ja Hofiz devoni mutolaasiga o‘tadi. So‘ng besh oy davomida Mirzo Bedil g‘azaliyoti bahriga
sho‘ng‘iydi. To‘qqiz yoshida esa Alisher Navoiyning ,,Chor devon‘ini o‘qishga kirishadi.
1
Furqat lirikasida ham mumtoz adabiyotimizning boshqa vakillarida bo‘lgani singari g‘azal
janri yetakchilik qiladi. Furqat g‘azallarida biz Navoiy, Amiriy, Fuzuliy, Bedil kabi ijodkorlarning
bevosita ta‘sirini kuzatishimiz mumkin. Shu bilan birga Furqat she‘rlarida o‘ziga xos ohang va
1
Ochilov E. Furqat ijodida Navoiy an‘analari.// O‘zbek tili va adabiyoti. 6. 2019. – T.:Fan. – B.13
ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 5 / UIF:8.2 / MODERNSCIENCE.UZ
832
hech kimda uchramaydigan go‘zal tashbehlarni uchratamiz. Bu esa, albatta, Furqat asarlari badiiy
qimmatini yanada oshiradi.
Furqat ijodiga, ayniqsa, sharqning buyuk shoiri Navoiyning ta‘siri katta. Darhaqiqat,
Furqat ko‘ngliga she‘r havasi tushgan bolaligidan to she‘riyat maydonida javlon urgan umrining
nihoyasigacha bu buyuk salafi ta‘sirida qalam tebratdi. Ustoz so‘z san‘tkorining ko‘plab
g‘azallariga tatabbu bog‘ladi, turli fikr-u tashbehlarini yangicha sharoitda rivojlantirdi va ularning
yangi qirralarini ochib yanada rivojlantirdi. Navoiy ta‘sirini uning har bir asarida sezishimiz
mumkin.
2
Furqat Navoining “Aylab”, “Aylagach”, “Aylay desam bor”, “Isi”, “Kelmadi” radifli
qator g‘azallariga tatabbular qilgan. Masalan, g‘azal mulkining sultonining
Gar bahor el topsa bo‘stondin rayhon isi,
Kelur ul rayhon ila guldin manga hijron isi.
matla‘li g‘azaliga
Elga keldi to bahor ayyomi gar bo‘ston isi,
Yor ko‘yidin kelar menga gul-u rizvon isi
Bilan boshlanadigan tatabbu yozadi. Har ikki g‘azal ham yetti baytdan. G‘azal ham tatabbu ham
ramali musammani maqsurda (foilotun, foilotun, foilotun, foilun) vaznida.
Furqat tatabbulari hamisha ham Navoiy g‘azallariga hamqofiya va hamradif emas- u
ba‘zida boshqa qofiya va radifda ham tatabbular yaratadi. Masalan, “Koshki” radifli g‘azaliga
boshqa qofiyada tatabbu qilsa, “Kelmadi” radifli g‘azaliga “kelur” radifli tatbbu qiladi. Chunonchi,
uning:
Har kishikim, dahr aro sendek malaksiymosi bor,
Xuri Jannat yuziga boqmoqdin istig‘nosi bor,-
bayti bilan boshlanadigan g‘azali buyuk salafining
Kimki oning bir malaksiymo parivash yori bor,
Odamiy bo‘lsa, pari birla malakdin ori bor-
matla‘li g‘azaliga ergashib yaratilgani shubhasiz. Ko‘rinib turibdiki, bunda radif saqlangan bo‘lsa
ham qofiya tizimi yangilangan.
Furqat Navoiyning “Yor bo‘lmoq tong emas men zor-u rasvo birla do‘st” , “Tun oqshom
keldi kulbam sori ul gulrux shitob aylab” , “Sahvdur tubi demak ra‘no niholingni ko‘rib “misralari
bilan boshlanadigan g‘azallariga g‘o‘zal taxmislar bog‘lagan.
3
Shoir
g‘azallarida,
shuningdek,
mumtoz
adabiyotimizning
boshqa
buyuk
namoyondalarining ham ta‘siri seziladi. Xususan, Atoiyning
Jamoling vasfini qildim chamanda,
Qizordi gul uyottin anjumanda-
matla‘li mashhur g‘azali barchamizga ma‘lum. Furqatning
Yuz-u qadding ko‘rib, jono, chamanda,
Asiring bo‘ldi gul, shamshod banda-
matla‘si bilan boshlanuvchi g‘azali Atoiy g‘azali ta‘sirida yaratilgani ko‘rinib turibdi.
Atoiy g‘azalida oshiq bog‘ sahnida ma‘shuqaning vasfini kuylagan zamon uning ta‘rifini
eshitgan gul o‘zining bu maqomda emasligidan uyalib qizarib ketadi. Furqat g‘azalida endi gul
2
O‘sha manba – B.13
3
Ochilov E. Furqat ijodida Navoiy an‘analari.// O‘zbek tili va adabiyoti. 6. 2019. – T.:Fan. – B.15
ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 5 / UIF:8.2 / MODERNSCIENCE.UZ
833
obrazi oldiga shamshod daraxti ham qo‘shiladi.Ular yorning nafaqat tarifini eshitishadi balki uning
go‘zalligini o‘z ko‘zlari bilan ko‘rib asiru banda bo‘lishadi.Ko‘rinib turibdiki, ikkala tasvir ham
bir birga yaqin va ayni paytda o‘ziga xos hamdir.
Furqat o‘z g‘azalida tug‘ilgan o‘lkasi – Qo‘qon nomini ham keltirib o‘tadi.
Nigorim, ko‘rmadim sendek parivash,
Xudo haqqi qalamviri Xo‘qanda
G‘azal maqta’sida Furqat hasb – u hol tarzida o‘zining vatandan olisda ekanligini takidlab
o‘tadi.
Quyundek, Furqatiy, kezdim jahonni,
Ajab sargashta men dashti Xo‘tanda.
Furqat yana bir buyuk ijodkor, shoh va shoir Amir Umarxon (taxallusi Amiriy) ijodini
sevib mutolaa qilgan. Furqat ijodiga Amiriy g‘azallarining ta‘siri xususida adabiyotshunos Zebo
Qobilova o‘zining “Furqatning Amiriy g‘azallariga tatabbulari” nomli maqolasida qimmatli
fikrlarni keltirib o‘tadi
Furqat yashab ijod etgan davrda Qo‘qonda Amiriy shaxsiyati va she‘riyati ham mashhur
edi. Muqimiy, Zavqiy, Muhyi, Rojiy, Nisbat kabi shoir do‘stlari qatorida Furqat ham uning
merosidan bahramand bo‘lib dilo‘rtar g‘azallaridan ilhomlanib, betakror tashbehlaridan ta’sirlanib
qator she’rlar yaratgan. O‘zini to‘lqinlantirgan she‘rlariga tatabbular qilgan.
4
Aytaylik, Amiriyning zamondosh ijodkorlar va o‘zidan keyingi Qalam ahliga kuchli ta’sir
ko‘rsatgan va ko‘plab tatabbularning vujudga kelishiga sabab bo‘lgan “Lab uyur takallumga,
zulfni parishon qil” misrasi bilan boshlanadigan mashhur g‘azali bor. Unda jumladan shunday bayt
mavjud:
Ehtisob uchun zohid kirsa dayr aro, soqiy
Bir qadah bilan aning zuhdidin pushaymon qil.
Endi mazkur baytni Furqatning quyidagi bayti bilan qiyoslang
Loladek jamolingni bir yo‘la ko‘rib zohid,
Necha yilki zuhdidin dog‘ o‘lub pushaymondur.
Furqatning bu baytida Amiriyning bevosita bo‘lmasa-da bilvosita ta‘sirini sezamiz.
Amiriy o‘z taxallusini ko‘plab she‘rlarida ikki ma‘noda qo‘llaydi. Ham taxallus, ham sulton, shoh,
amir. Furqat ham Amiriy kabi ismini ko‘p o‘rinlarda ikki ma‘noda qo‘llaydi: taxallus va ayriliq.
Shoir nomi yoki taxallusining ham taxallus ham lug‘aviy ma‘nosida qo‘llanilishidan iborat bunday
san‘at ilmi bade‘da ittifoq deb ataladi. Masalan, Amiriy:
Kimki qildi yor ko‘yida gadolig‘ ixtiyor,
Saltanat iqlimida derlar Amiri kamyob.
Furqat:
Maqomim bo‘ldi sahro-lola yang‘lig‘,
Yurakda dog‘i Furqat lahza-lahza.
5
Mumtoz adabiyotimizda yorni mukammal hilqat sifatida tariflash, uning qoshlarini kamon,
ko‘zlarini ohu, sochlarini sumbul, qomatini shamshod deya vasf qilish an-ana tusiga kirgan. Furqat
ham bu an‘anaga sodiq qolgan holda, ma’shuqani jamiki go‘zallaiklar sultoni tarzida
4
Qobilova Z.Furqatning Amiriy g‘azallariga tatabbulari.//O‘zbek tili va adabiyoti.6.2019. – T.: Fan. – B.21
5 Qobilova Z.Furqatning Amiriy g‘azallariga tatabbulari.//O‘zbek tili va adabiyoti.6.2019. – T.: Fan. – B.21
ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 5 / UIF:8.2 / MODERNSCIENCE.UZ
834
tasvirlaydi.Shu bilan bir qatorda ifodaga yangicha yo‘nalish va ohang qo‘shadi.Shoirning Fuzuliy
g‘azaliga tazmin tariqasida yozilgan “Surmadin ko‘zlar qaro” she’rida mashuqa shunday
tasvirlanadiki, o‘quvchi ko‘z o‘ngida ikki yuzi qizarib, ibo bilan kulimsirab turgan kelinchak
obrazi jonli gavdalanadi.
Surmadin ko‘zlar qaro, qo‘llar xinodin lolarang,
G‘o‘zadin yuzlarda tob-u, o‘smadin qoshlar tarang.
Zafaroniy ko‘ylak uzra arg‘uvoniy kamzuhur,
Ro‘ymol og‘ushidin peshonani ahvoli tang.
Bori nozik panjalar oltin uzukdin zebnok,
Qo‘l bilarzukdin muzayyan, nuqradin og‘izda chang.
6
Ushbu to‘rt bayt davomida shoir go‘zalning tashqi ko‘rinish portretini yaratgan bo‘lsa, quyidagi
misralarda endi xatti-harakatlarini tasvirlash orqali uning xarakter xususiyatlarini ochib beradi.
G‘amza birla o‘lturur, ham jilvalar birla yurur,
Turfa bir noz, ofarin, pur ishva tannaz-u satang.
Aql hush eltar agar tursa paridek silkinib,
Odamizod ichra ham bundoq bo‘lurmu sho‘x-shang.
Furqat ijodini o‘rganar ekanmiz, undagi ba‘zi ohanglar Bobur she‘riyatini ham esga solishini
ko‘rishimiz mumkin. Ikkalasida vatandan olisdalik va g‘urbat hissi yetakchilik qiladi. Bu ikki
ijodkor ham umrining ko‘p qismini ona yurtidan olisda, yurt sog‘inchi bilan o‘tkazishdi. Bu
sog‘inch hissi esa ikkala ijodkorning ham asarlarida o‘z aksini ko‘rsatmay qolmadi, albatta.
Shuningdek, Furqat va Bobur ijodi o‘rtasidagi yana bir mushtarak jihat til jihatdan sodda,
tushunarli va xalqonalikdir. Oddiy misralar bilan yuksak san‘at namunasi yaratib, o‘quvchi his-
tuyg‘ulariga ta‘sir qila olish qobiliyati ikki ijodkorga ham xosdir. Xususan, Boburning nasriy
uslubda yozilgan “Boburnoma” asari biografik asar bo‘lib unda ijodkor o‘zi guvohi bo‘lgan va
boshidan o‘tkazgan voqealarni sodda, tushunarli va badiiy tarzda hikoya qilib beradi. Furqat ham
shunday nasriy tarjimai hol yaratgan va uni “Ho‘qandlik shoir Zokirjon Furqatning ahvoloti. O‘zi
yozg‘oni” deb ataydi. Shoir dunyoqarashi va ijtimoiy-ijodiy faoliyatini belgilashda favqulotda
ahamiyatga ega bo‘lgan bu asar, o‘sha davrda endigina shakllanayotgan o‘zbek publitsistikasining
yorqin namunasi sifatida ham ahamiyatga ega.
Xulosa qilib aytganda, Furqat o‘z ijodi davomida ustozlari an‘analarini munosib tarzda
davom ettirdi, adabiyotimiz xazinasini durdona asarlar bilan boyitdi va o‘zidan keying avlod
uchun munosib ijod maktabi qoldirdi.
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