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Godba ideala TC Lejle Bin Nur, 18. 1. 2004 (4053 bralcev)
Nedelja, 18. 1. 2004
TCLejla



Alim Kasimov

Sakine Ismailova

Djanali Akberov

Gandab Gulieva

There ...

The story of Layli and Madjnun is one of the most popular legends of the Middle East.

Its original version dates back to around 7th Century AD, and can be found in Arabic literature.
The Persian version written by the 12th Century poet Nezami ( part of the set of stories known as
the "Khamsa" ) is not just a classic love story, but a profound spiritual allegory. Folk versions of
Layli and Madjnun have been told from North Africa to India.

Alim Kasimov, The Legendary art of mugam

This romantic love story can be dated back in its original form to the second half of the 7th Century. The content of the romance, insofar as it can be extracted from the ancient versions, is relatively simple. However, from the start there have been two different versions:

In one, the two young people spent their youth together tending their flocks; while in the other, Madjnun [meaning madman] whose actual name according to the narrators was Qays, meets Layla, [commonly named Layli in Persian] by chance at a gathering of women, and the effect on him is devastating...

He kills his camel as a contribution to the feast, and Layla falls in love with him from the start. Subsequently he asks for her hand in marriage, but her father has already promised her to another. Gripped by the most violent anguish, Qays loses his reason and sets out to wander half-naked, refusing nourishment and living among wild animals. His father tries to make him forget Layla, by taking him on a pilgrimage , but his madness only intensifies.

Alim Kasimov, Love's deep ocean

He does, however, show moments of lucidity in his poetry about his lady-love, and while talking about her to those curious people who have come to see him...

He dies alone, only meeting Layla one more time.

There ...

Alim Kasimov s skupino

Muhammed Fuzuli (1498-1556)
BIOGRAPHY

Fuzuli is one of the greatest Azeri-Turkish poets. His real name is Muhammed Suleiman oglu (poet’s name and patronymic). We know almost nothing of the childhood and early youth of Fuzuli. It is generally considered that he was born app. in 1498 in Kerbela (in the area presently known as Iraq). Fuzuli belonged to the Turkic tribe of Bayat, one of the Turkoman tribes that was scattered in all over the Middle East, Anatolia and the Caucasus from X-XI cc. and which stands in the roots of the Azerbaijanian people. Although Fuzuli’s ancestors were of nomadic origin, Fuzuli’s family had long been town-dwellers. At that time the area where Fuzuli lived was a part of the Azerbaijanian Safavid State headed by the leader of the Turkoman Shiites Shah Ismayil Safavi. When young Fuzuli devoted a poem to Shah Ismayil named Bang-u-Badeh, where he praised his reigning.

Alim Kasimov in hči Ferghana Kasimov

Fuzuli was a versatile and learned man, and was both ambitious to possess these qualities, and proud in possessing them. He wrote: "…I am master of all the arts in discussing beauty of expression and in disputing agreeableness of style with those who are masters of one art only. Well, all this demonstrates the total "presumption" ("fuzuli" in Arabic), but also the perfection of Fuzuli". Thus, the poet explains his nom de plume, which literally means presumptuous, but which also brings to mind fuzul, the plural of fazl meaning "virtue". He chose this pseudonym in order not to be confused with others and be "unique". He was sure that because of its unpleasant meaning nobody else would adopt it.

Fuzuli had left us writings in Azeri (Turkish), Persian and Arabic. This trilingualism was not rare among the Turkic writers of the medieval period and is explainable by their cultural formulation, which was based, in fact, on Arabic religious and scientific tradition and on Persian literary tradition. In Fuzuli’s case the use of the three languages was conditioned also by his particular environment, because all three tongues were in use in Iraq, which as known from history was in XVI c. first a part of the Safavid State and later in 1534 became a part of the Ottoman Empire. The ability to write in more than one language was one of the things of which Fuzuli was most proud and one of his favorite habits was to use two or three languages alternately in same of his poetry or prose. Fuzuli wrote in Azeri Turkish not only by the fact that it was his mother tongue but also by political circumstances. Shah Ismayil Safavi, who conquered Baghdad in 1508, has left us a divan in Azeri Turkish. After the Ottoman conquest of Baghdad Turkish literature acquired even greater importance in this region. Fuzuli expressed Turkish prestige in words, which at that time was not exaggerated, "the high ranking of Turks constitute a large part of world order and a numerous category of the human species…". Nevertheless, he complains that to write "delicate" verse in Turkish rather than in Persian is difficult because the Turkish language is hard to be put in lines, since the words are mostly without connection and lacking harmony. Therefore, the language of the Fuzuli’s poems are extremely persianized. Today a Turk in Azerbaijan or in Turkey could not read many of his works without the help of dictionary. However, Fuzuli’s fame rests mainly on his work in Azeri-Turkish and his masterpiece world-wide famous poem "Leili and Mejnun" is written in Azeri-Turkish too.

Fuzuli lived in constant need, which we know from his numerous poetic complaints. The great poet died of cholera in Kerbela in 1556.
There ...

Kasimov in Ismailova v vlogi Madžnuna in Lejli, bakujska operna hiša

Muhammed Fuzuli (1498-1556)
LEYLA and MEJNUN (izbrani drobci iz prvih poglavij, chosen fragments from starting chapters)
Translated by Sofi Nuri
IV
/.../
But these two, tall, fair as jasmine, straight and slender as a dart
Were bound and tied, the one to other, firmly fast by loving art.
Drinking deep the wing of pleasure, drinking deeply of desire,
Drowned in unity of sadness, all engulfed in passion's fire.
Were Qays addressed with posing riddle, Leyla's treble answered clear;
Were Leyla questioned, Qays would answer in a voice that knew no fear.
They learned loyalty of purpose, abnegation born of love
When Leyla cast her books beside her, Qays became her textbook dear.
When Qays essayed the art of writing, Leyla's brow was his design
O'er their writing, o'er their reading, artistry to love lent aid;
A thousand sweet disputes were born and ended in a thousand charms.
Disputes were friendship's sweet advances, arguments but fed their love.
And so these two. long happy days together spent their childhood hours.
Two things are sure; love ne'er is secret: he who loves may have no rest.
The sign of love's sweet fire is noted when the gossips first begin
Calamity of love is beauty; sorrows strengthen love's cement.
And thus they came in rapid stages, plainly marked and fully known,
With reason trodden down, forgotten, when they found the voice alone
But a faulty instrument to carry tone and overtone.
Then the eye and then the eyebrow slow usurped the place of speech:
Question gained reply from eyebrow, brow and eye played each to each.
Yet all talk with eye and eyebrow would not still suspicious tongue.
People live within the eye and from the eye the truth will flow.
/.../

Gandab Gulieva, bakujska operna hiša

VII
A cruel Fate now drags apart
To live in lonely grief
The fondness of a loving heart
That loved a moment brief.
Were Fate a sentient, living thing,
Or bred to fear its victim's sighs,
Then, with a fear that passed all fears of man
Or woman sad,
Would Fate, a-tremble, dread the curse I sing:
My sighs, spark-clad,
Outpouring fast make Fate in flames to rise-
Yet flames my heart more fierce with sighs to fan.
My grief, though secret, grew apace,
And killed my soul so gay:
Now en ded ere half run my race
Like summer gone with May.
/.../
IX
1. Now every mom Mejnun went forth to school
Where, freed of care, he mastered every rule.
2. With studied ease he followed all the lines
Of Leyla: never book marked love's confines.
3. His heart with pleasure sang when'er the day
He, like the son, pursued his constant way.
4. At school a happiness he looked to find
The happiness of love, not yet unkind.
5. When passed the day that Leyla cameth not
The sun was darkened, tho' its rays were hot.
6. All sunless sped the day, and school, as night,
Fell dark and gloomy, darkened, without light.
7. He guessed that Fortune's cunning trickster hand
Had turned from him the pleasure he had planned.
8. The jealous gossips, so the thought was born,
Upon her petalled rose had cast a thorn.
9. With grief at heart and sorrow in his mind
He railed at Fortune, calling it unkind.
1O.'What evil have I done? What left undone,
To kill my soul by banishing the sun?
11.'What sin mine, that now, in sad eclipse,
Thou dashest wine of pleasure from my lips?
12.'Thy favourite once was I, and happy, glad,
Beneath my idol's look in pleasure clad.
13.'O Fortune! Now thy wheel to torture turns,
And now the graces of content it spurns.
14.'Didst thou then fear that with a single sigh
That from my burning heart should reach the sky,
15.'I might thy heaven into ashes turn,
And teach thee how these separations bum?
16.'Were this achieved, then Separation's pain
Thou, too, might'st know.
But, teacher, turn again,
17.'Nor think alone that dreary grief is mine:
The grief that tears my heart is also thine.
18.'O, elif, straight, unbending as a rod,
Be shamed, and fall, to moulder 'neath the sod.
19.'Still now thy boastful voice, seek not her height,
For she is gone* Why standest thou upright?
2O.O, noon, thou joy on beauty's eyebrow set,
Go, hide thyself} Seek not my soul to fret.
21.'O, mim, thy crooked shape no purpose holds
Now Destiny her smiling mouth withholds.
/.../


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