Abstract

Tarih boyunca bazı yaşamlar, gerçek olayların sınırlarını aşarak destan ve efsane katmanlarıyla örülmüş; öyle ki, olgusal hakikat ile kolektif muhayyilenin ürünü mitler birbirinden ayrılmaz hâle gelmiştir. Büyük İskender örneğinde olduğu gibi, bu tür figürlerin hayatı, edebî metinlerde yeni anlam katmanları kazanarak geleneksel motiflerin ve kültürel etkileşimlerin aktarım aracı olmuştur. Büyük İskender (MÖ 356-323) bu figürlerden biridir, Doğu’da Zülkarneyn ve İskender isimleriyle ün kazanmıştır. Ünlü bir askerî lider ve devlet adamı olan İskender’in ölümünden kısa bir süre sonra, Kallisthenes, Kleitarkhos ve Onesikritos gibi yazarlar onun hayatı ve askerî seferleri hakkında eserler kaleme almıştır. Bu çalışmalar, Plutarkhos gibi Yunan yazarların tarihi ve biyografik anlatılarıyla birlikte, İskender hakkında efsanelerin ve söylencelerin çoğalmasına yol açmıştır. Bu kategoriye giren eserler iki türe ayrılabilir: Birincisi, İskender’in seferlerine ve devlet yönetimine adanmış tarihi eserler; ikincisi ise onun olumlu özelliklerini yücelten, ancak bazen olumsuz yönlerini de eleştiren edebî eserlerdir. Türk ve Fars edebiyatında İskender’in imajı her zaman olumlu bir kahraman olarak yüceltilmez; bazen istilacı ve zalim bir kral olarak da tasvir edilir. İskender’in imajının ne tarihî ne de edebî eserlerde sabit kalmadığını belirtmek önemlidir. Onun kişiliği, yazıldığı dilin, ait olduğu halkın ve milletin bakış açısıyla zenginleşmiştir. 10. yüzyıldan itibaren bu imaj, epik şiirin geleneksel bir sembolü olarak mükemmelleştirilmiştir. Fars şair Ebu’l-Kâsım Firdevsî, Şehnâme adlı epik şiirinde, Doğu edebiyatında ilk kez İskender’i ana karakter seviyesine yükseltmiştir. Anlatıyı oluştururken Firdevsî, başta Khudaynamah (Hudâynâme), çeşitli efsaneler ve hikâyelerden, kısmen de Sözde-Kallisthenes adlı eserden yararlanmıştır. Bu anlatı, İskender’in kahramanca ve fantastik maceralarına odaklanmıştır: Darius ile savaşı, Hindistan, Çin ve Mezopotamya’ya yaptığı yürüyüşler, karanlığa yaptığı yolculuk, Yecüc ve Mecüc’ün yolunu kapatmak için bir kale inşa etmesi ve çeşitli korkunç hayvanlarla savaşları anlatılır. İskender’i bağımsız bir sanat eseri olarak ele alan ilk kişi Nizâmî-i Gencevî olmuştur. Şair, İskender’in imajını ustalıkla tasvir ederek onu adil bir kral ve peygamber seviyesine çıkarmıştır. Bu genç hükümdar, kendisi için zenginlik, şöhret veya toprak kazanmayı düşünmez; aksine, yalnızca zulüm çeken halkları korumak için savaşır. Daha sonra Emir Hüsrev Dihlevî, Abdurrahman-ı Câmî ve Ali Şîr Nevâî gibi şairler de İskender hakkında özel destanlar yazarak onun imajını kurgusal edebiyatın sayfalarına kazımışlardır. Edebiyat eleştirisinde, Ali Şîr Nevâî ve Abdurrahman-ı Câmî’nin İskendernâme’lerinden hangisinin önce yazıldığı sorusu tartışmalıdır. Bazı edebiyat bilginleri, Hırednâmey-i İskenderî adlı eserin önce tamamlandığını, Sedd-i İskenderî’nin ise ona bir giriş olarak oluşturulduğunu belirtir. Ancak diğer edebiyat bilginleri, Sedd-i İskenderî adlı eserin, Hırednâmey-i İskenderî’den önce yazılıp tamamlandığını savunur. Bunun temel nedeni, Nevâî’nin Muhâkemetü’l-Lugateyn adlı eserinde, Sedd-i İskenderî’nin temellerinin, “hafıza mühendisi” olarak andığı Hazreti Mahdum (Abdurrahman-ı Câmî) tarafından atıldığını ve bu yüzden ondan ıslah ve destek istediğini söylemesidir. Nevâî, destanını hocasından önce tamamlamış olsa da, Câmî’ye duyduğu saygı ve tevazu nedeniyle eserini onun desteğiyle yazdığını ifade eder. Bu makale, iki büyük şairin destanları arasındaki benzerlik ve farklılıkları, geleneğe karşı tutumlarını ve yaratıcı özgünlüklerini ortaya koymaktadır.

Project Number

UO‘K 891.709:894.3

THE ROLE OF TRADITIONALISM AND LITERARY INFLUENCE IN THE EPICS “SADDI ISKANDARI” AND “KHIRADNOMAYI ISKANDARI”

Abstract

There have been people in world history whose lives have become intertwined with myths to the point where the real history and the myths have become inseparable. Alexander the Great is one of these figures, who became famous in the East under the names of Zulkarnayn, Alexander the Great, and Alexander the Great. He (356-323) was a famous military leader and statesman, and shortly after his death, Cliparchus and Onescritus wrote about his life and military campaigns. These works were created along with the historical and biographical works of the Greek writer Plutarch about Macedon. As a result, myths and legends began to appear about Alexander. The works in this category can be divided into two types. The first is historical works dedicated to Alexander's campaigns and governance of the country. The second is artistic works in which his positive qualities are glorified and his negative aspects are condemned. The image of Alexander in Turkish and Persian literature is not always glorified as a positive hero, but sometimes appears in the form of an invader and tyrant king. It should be especially noted that Alexander did not retain his image in either historical or artistic works. In whatever historical period, in whatever environment, and in whatever religious doctrine the language of the people was written, he was enriched by the point of view of that people and nation. From the 10th century, this image was perfected as a traditional symbol of epic poetry. The Persian poet Abulqasim Firdausi, in his epic poem "Shahnama", for the first time in Eastern literature, elevated the image of Alexander to the level of a main character. In creating the epic, the writer relied mainly on the materials of "Khudoynamak", various legends and tales, as well as, albeit partially, the novel "Pseudo Callesphene". It focuses on Alexander's heroic and fantastic adventures, telling about his battle with Darius, his march to India, China, Mesopotamia and other countries, his journey into darkness, his construction of a fortress to block the path of Gog and Magog, his battle with various terrible animals, etc. The first person to write about the image of Alexander as an independent work of art was Nizami Ganjavi. The poet artistically portrays the image of Alexander, raising him to the level of a just king and prophet. The young ruler does not think about gaining wealth, fame or a country, but rather wages wars only to protect peoples suffering from oppression. Later, Khusrav Dehlavi, Abdurahman Jami, and Alisher Navoi created special epics about Alexander, imprinting his image on the pages of fiction. In literary criticism, the question of which of the Iskandar names of Alisher Navoi and Abdurahman Jami was created earlier is controversial. Some literary scholars note that the epic poem "Khiradnomayi Iskandari" was completed first, and the epic poem "Saddi Iskandari" was created as a prelude to it.Other literary scholars say that the poem "Saddi Iskandari" was written and completed before "Khiradnomayi Iskandari". The main reason for this is that in Alisher Navoi's work "Muhokamat ul-lughatain" "... Also, because the basis of "Saddi Iskandari" was laid by the engineer of memory Hazrat Makhdum (Abdurrahman Jami) sought reform and support from "Khiradnoma" (Alisher Navoi, 2000: 26) – (i.e., I relied on the help of Abdurakhmon Jami for the work "Saddi Iskandariy"). Although Alisher Navoi completed the epic before his teacher (but began writing after Jami), he writes that he received support from Jami out of respect and humility. This article reveals the similarities and differences between the epics of the two great poets, their attitude to tradition, and their creative originality.

Keywords

• Iskandarnoma
• Epic
• Stories
• Composition
• Subject
• Traditionalism
• Innovation.

Project Number

UO‘K 891.709:894.3

“SEDD-İ İSKENDERΔ VE “HIREDNÂME-İ İSKENDERΔ DESTANLARINDA GELENEKÇİLİK VE EDEBÎ ETKİNLİKLERİN ROLÜ

Abstract

There have been people in world history whose lives have become so intertwined with myths that the real history and the myths have become inseparable. Alexander the Great (bc. 356-323) is one of these figures, who became famous in the East under the names Zulkarnayn and Iskandar. He was a renowned military leader and statesman. Shortly after his death, writers like Callisthenes, Cleitarchus, and Onesicritus wrote about his life and military campaigns. These works, along with historical and biographical accounts by Greek writers like Plutarch, led to the proliferation of myths and legends about Alexander. Works in this category can be divided into two types: First, historical works dedicated to Alexander’s campaigns and his governance. Second, literary works that glorify his positive qualities while sometimes condemning his negative aspects. The image of Alexander in Turkish and Persian literature is not always that of a positive hero; he can also be portrayed as an invader and a tyrannical king. It’s important to note that Alexander’s image did not remain static in either historical or literary works. His persona was enriched by the viewpoints of the people and nations whose languages were used to write about him, regardless of the historical period, cultural environment, or religious doctrine. From the 10th century onwards, this image was perfected as a traditional symbol of epic poetry. The Persian poet Abulqasim Firdausi, in his epic poem Shahnameh, was the first in Eastern literature to elevate the figure of Alexander to the level of a main character. In creating the epic, Firdausi relied mainly on materials from Khudaynamah, various legends and tales, as well as, albeit partially, the novel Pseudo-Callisthenes. The epic focuses on Alexander’s heroic and fantastic adventures, narrating his battle with Darius, his marches to India, China, and Mesopotamia, his journey into darkness, his construction of a fortress to block the path of Gog and Magog, and his battles with various mythical creatures. The first person to write about Alexander as an independent work of art was Nizami Ganjavi. The poet masterfully portrays Alexander, raising him to the level of a just king and a prophet. This young ruler is depicted as not seeking wealth, fame, or territory for himself, but rather waging wars only to protect peoples suffering from oppression. Later, Amir Khusrow Dehlavi, Abdurrahman Jami, and Alisher Navoi all created special epics about Alexander, solidifying his image in fictional literature. In literary criticism, the question of which of the Iskandarnamas by Alisher Navoi and Abdurrahman Jami was written first is a point of contention. Some literary scholars note that the epic poem Khiradnamayi Iskandari was completed first, with Saddi Iskandari being created as a prelude to it. Other literary scholars, however, state that the poem Saddi Iskandari was written and completed before the Khiradnamayi Iskandari. This is primarily because Navoi, in his work Muhakamat al-Lughatain, states that the foundations of Saddi Iskandari were laid by Hazreti Mahdum (Abdurrahman Jami), whom he refers to as the “engineer of memory,” and therefore he sought his guidance and support. Although Navoi completed his epic before his teacher, he stated that he wrote it with Jami’s support out of respect and humility. This article explores the similarities and differences between the epics of these two great poets, their attitudes toward tradition, and their creative originality

Keywords

• İskenderiye
• Destan
• Hikâyeler
• Kompozisyon
• Konu
• Gelenekçilik
• Yenilik

Project Number

UO‘K 891.709:894.3

Ethical Statement

Bilim adamlarını bir araya getirdiğiniz için teşekkür ederiz

Thanks

Mütevazi araştırma makalelerimizin yayınlanmasına yardımcı olduğunuz için teşekkür ederizTeşekkürler

References

1. Asadov, M. Soqinoma: history and poetics [Text]: monograph. Tashkent: Tafakkur, 2020.
2. Azimov, Yunus. Comparative-typological analysis of the epic poem “Khiradnomai Iskandariy” by Abdurahman Jami. Philology. candidate of sciences... dissertation. Samarkand, 1996.
3. Ismailov, I. The genesis and poetics of Alisher Navoi’s epic poem “Saddi Iskandari”. Monograph. Tashkent: Anorbooks, 2022.
4. Jami, Abdarrahman. Haft aurang (Tukhfat al-akhrar, Subhat al-abrar, Hiradnama-yi Iskandari), Critical text. Moscow: Nauka, 1984.
5. Kamilov, Najmiddin. Khizir spring. Tashkent: Ma’naviyat, 2005.
6. Muhiddinov, M. Wonders of the heart. –Tashkent: Tamaddun, 2021.
7. Navoi, Alisher. Complete Works, 20 volumes, Vol. 16. Tashkent: Fan, 2000.
8. Navoi, Alisher. TAT: Ten volumes, J.8. Tashkent: Gʻ.Gʻlom NMIU, 2012.

9. Navoi, Alisher. TAT: Ten volumes. Badoye’ ul-wasat. Tashkent: Gʻ.Gʻulom NMIU, 2012
10. Nazarova, D. Comparative analysis of Abdurahman Jami’s epic poem “Suhbat ul-abror” and Alisher Navoi’s epic poem “Hayrat ul-abror”: Philol. fan. b. fal. doc. diss. ... author’s ref. Samarkand, 2022.
11. Olimov, S. Comparative poetics of “Lison -ut tayr”: synthesis, translation and translation. Philology. science. doctor... diss. Samarkand, 2022.
12. Sultanov, T. et al. Textual Analysis and Computational Insights into Alisher Navoi’s ‘Divan of the AqQoyunlu Admirers’ //2024 Ninth International Conference on Science Technology Engineering and Mathematics (ICONSTEM). – IEEE, 2024. – С. 1-7
13. Sultanov, T., Ablakulova, I., Halimova, N., Husanova, D., Ananth, C., & Kumar, T. A. (2024,
14. April). Textual Analysis and Computational Insights into Alisher Navoi’s ‘Divan of the AqQoyunlu Admirers’. In 2024 Ninth International Conference on Science Technology Engineering and Mathematics (ICONSTEM) (pp. 1-7). IEEE.
15. Tohirov, S. Q. Hamsanavislik in the Timurid period. Monograph. Tashkent: Tamaddun, 2021. Toutant, Marc. Evaluating Jami’s Influence on Navai. The Case Studies of the Khiradnama-yi Iskandari and the Sadd-i Iskandari. - R. 606-652.
16. Yevgeniy, Bertels. Navoi. Opyt tvorcheskoy biography.