\n(\u201cC\u0259h\u0259nn\u0259m\u201d, XVI, 76 \u2013 \u201c\u0130lahi komediya\u201ddan sitat \u018flia\u011fa K\u00fcr\u00e7ayl\u0131n\u0131n t\u0259rc\u00fcm\u0259sind\u0259 verilib \u2013 R.N.)
Poetik nitq ikili s\u0259sl\u0259nm\u0259d\u0259n ibar\u0259t qovu\u015fuq prosesidir: bu s\u0259sl\u0259nm\u0259l\u0259rd\u0259n birincisi el\u0259 prosesin q\u0131z\u011f\u0131n gedi\u015find\u0259 poetik nitq al\u0259tl\u0259rind\u0259 (ifad\u0259 vasit\u0259l\u0259rind\u0259 \u2013 red.) ba\u015f ver\u0259n d\u0259yi\u015fiklikd\u0259n ibar\u0259tdir, biz onu e\u015fidir v\u0259 hiss edirik; ikinci s\u0259sl\u0259nm\u0259 is\u0259 el\u0259 nitqin \u00f6z\u00fcd\u00fcr, y\u0259ni qeyd olunan al\u0259tl\u0259rin icra etdiyi intonasiyal\u0131, fonetik i\u015fdir. Bu m\u0259nada poeziya t\u0259bi\u0259tin bir hiss\u0259si \u2013 h\u0259tta, \u0259n yax\u015f\u0131, se\u00e7m\u0259 hiss\u0259si \u2013 deyil v\u0259 onu az \u0259ks etdirir. \u018fks halda, bu, eyniyy\u0259t qanunlar\u0131n\u0131 (bu m\u0259ntiq qanununa g\u00f6r\u0259, nitq prosesind\u0259 h\u0259r hans\u0131 ifad\u0259 c\u0259mi bir, vahid m\u0259nada i\u015fl\u0259nm\u0259lidir, predmet bar\u0259d\u0259 fikir t\u0259krarlansa bel\u0259, o, stabil v\u0259 konkret m\u0259zmun da\u015f\u0131mal\u0131d\u0131r, ba\u015fqa s\u00f6zl\u0259, bu qanun sinoniml\u0259rin v\u0259 b\u0259dii t\u0259svir vasit\u0259l\u0259rinin i\u015fl\u0259dilm\u0259si inkar edir \u2013 R.N.) t\u0259hqir etmi\u015f olard\u0131, amma o, heyr\u0259tamiz s\u0259rb\u0259stlikl\u0259 m\u0259kandank\u0259nar, yeni h\u0259r\u0259k\u0259t sah\u0259sind\u0259 yerini al\u0131r, poeziya n\u0259ql etm\u0259kd\u0259n daha \u00e7ox el aras\u0131nda obrazlar adland\u0131r\u0131lan vasit\u0259l\u0259rin k\u00f6m\u0259yi il\u0259 t\u0259bi\u0259ti m\u0259xs\u0259r\u0259y\u0259 qoyur.
\nPoetik nitqin v\u0259 ya fikrin s\u0259sl\u0259ndiyini biz yaln\u0131z \u00e7ox \u015f\u0259rti olaraq d\u00fc\u015f\u00fcn\u0259 bil\u0259rik, \u00e7\u00fcnki orada iki x\u0259ttin \u00e7arpazla\u015fd\u0131\u011f\u0131n\u0131 e\u015fidirik, onlardan biri, \u00f6z-\u00f6zl\u00fcy\u00fcnd\u0259 g\u00f6t\u00fcrs\u0259k, tamamil\u0259 lal-dinm\u0259zdir, metamorfoz vasit\u0259d\u0259n k\u0259narda g\u00f6t\u00fcr\u00fcl\u0259n, h\u0259r hans\u0131 \u0259h\u0259miyy\u0259ti v\u0259 mara\u011f\u0131 olmayan dig\u0259r x\u0259tt is\u0259 t\u0259hkiy\u0259y\u0259 g\u0259lir, bu da fikrimc\u0259, poeziyan\u0131n yoxlu\u011fundan x\u0259b\u0259r ver\u0259n \u0259n d\u0259qiq \u0259lam\u0259tidir: \u00e7\u00fcnki \u0259\u015fya il\u0259 t\u0259hkiy\u0259nin ortaq c\u0259h\u0259tl\u0259ri a\u015fkara \u00e7\u0131xan yerd\u0259 m\u0259l\u0259f\u0259l\u0259r \u0259zilm\u0259yib \u2013 poeziya orada gec\u0259l\u0259m\u0259yib.
\nDant (Mandel\u015ftam onu Dante adland\u0131rm\u0131r \u2013 R.N.) \u2013 poeziyan\u0131n ifad\u0259 vasit\u0259l\u0259ri ustas\u0131d\u0131r. O, obraz yaratm\u0131r. Dant \u00e7evrilm\u0259 v\u0259 \u00e7arpazla\u015fma prosesl\u0259rinin strateqidir. O, \u201c\u00fcmumavropa\u201d kontekstind\u0259 v\u0259 bu s\u00f6z\u00fcn zahiri-m\u0259d\u0259ni anlam\u0131nda, dem\u0259k olar ki, \u015fair deyil.
\nMeydanda yuma\u011fa d\u00f6nm\u00fc\u015f d\u00f6y\u00fc\u015f\u00e7\u00fcl\u0259r\u0259 \u00e7evrilm\u0259 vasit\u0259si v\u0259 ah\u0259ng kimi baxmaq olar:<\/p>\n
P\u0259hlivanlar nec\u0259 ki ya\u011flay\u0131b g\u00f6vd\u0259sini,
\nB\u00fct\u00fcn meydan\u0131 g\u0259zib h\u0259rl\u0259nirl\u0259r \u00fcz-\u00fcz\u0259,
\nTuta\u015faraq etm\u0259k\u00e7\u00fcn naqafil h\u0259ml\u0259sini
\n(\u201cC\u0259h\u0259nn\u0259m\u201d, XVI, 22-25)<\/b><\/p>\n
Bu arada m\u00fcasir kino \u00f6z\u00fcn\u00fcn lent\u015f\u0259killi ba\u011f\u0131rsaq qurdu metamorfozu il\u0259 poetik nitqin vasit\u0259liliyin\u0259 q\u0259z\u0259bli parodiyad\u0131r, \u00e7\u00fcnki kadrlar orada h\u0259r hans\u0131 m\u00fcbariz\u0259 olmadan h\u0259r\u0259k\u0259t edir v\u0259 yaln\u0131z bir-birini \u0259v\u0259zl\u0259yir. Dumanl\u0131 qaranl\u0131qdan qopard\u0131lm\u0131\u015f, anla\u015f\u0131ql\u0131 bir bir n\u0259sn\u0259ni t\u0259s\u0259vv\u00fcr\u00fcn\u00fcz\u0259 g\u0259tirin. Bu n\u0259sn\u0259 poetik d\u0259rkin\u2013icran\u0131n izahedici akt\u0131 bit\u0259n andaca k\u00f6n\u00fcll\u00fc v\u0259 rahat \u015f\u0259kild\u0259 unudulacaq dild\u0259dir (Mandel\u015ftam\u0131n icra\u00e7\u0131 anlay\u0131\u015f adland\u0131rd\u0131\u011f\u0131 \u015fey, \u0259slind\u0259, yarad\u0131c\u0131 d\u0259rkin ali formas\u0131d\u0131r. Bu yarad\u0131c\u0131 anlay\u0131\u015f formas\u0131n\u0131n mexanizmini a\u011f\u0131lla izah etm\u0259k m\u00fcmk\u00fcn deyil, o, yaln\u0131z intuisiyan\u0131n, ayd\u0131nlanman\u0131n, ilham\u0131n k\u00f6m\u0259yi il\u0259 ger\u00e7\u0259kl\u0259\u015f\u0259 bil\u0259r \u2013 R.N.).
\nPoeziyada he\u00e7 d\u0259 passiv, t\u0259sviri v\u0259 ya n\u0259qli deyil, yaln\u0131z icra\u00e7\u0131 d\u0259rketm\u0259 vacibdir. Semantik m\u0259mnunluq \u0259mrin icra hissin\u0259 b\u0259rab\u0259rdir (Poetik nitq al\u0259tl\u0259ri oxucu \u015f\u00fcuruna t\u0259sir etm\u0259kl\u0259 \u0259mr v\u0259 siqnallar\u0131n t\u0259\u015fkili funksiyas\u0131n\u0131 yerin\u0259 yetirir \u2013 R.N.). M\u0259na dal\u011falar\u0131-siqnallar \u00f6z i\u015fl\u0259rini g\u00f6r\u00fcb qeyb\u0259 \u00e7\u0259kilir: onlar g\u00fccl\u00fc olduqlar\u0131 q\u0259d\u0259r d\u0259 g\u00fcz\u0259\u015ft\u0259 v\u0259 l\u0259ngim\u0259y\u0259 az meyillidir.
\n\u018fks halda, mexaniki \u00f6yr\u0259nm\u0259, t\u0259krar, \u201cm\u0259d\u0259ni-poetik obrazlar adlanan\u201d haz\u0131r mismarlar\u0131n vurulmas\u0131 qa\u00e7\u0131lmazd\u0131r. Zahiri, izaholunan obrazl\u0131l\u0131q vasit\u0259lilikl\u0259 uy\u011fun g\u0259lmir.
\nPoeziyan\u0131n keyfiyy\u0259ti icra\u00e7\u0131 ideya-\u0259mrl\u0259ri s\u00f6z yarad\u0131c\u0131l\u0131\u011f\u0131n\u0131n vasit\u0259siz, l\u00fc\u011f\u0259tli t\u0259bi\u0259tin\u0259, k\u0259miyy\u0259t mahiyy\u0259tin\u0259 t\u0259tbiqetm\u0259 s\u00fcr\u0259ti v\u0259 q\u0259tiyy\u0259ti il\u0259 m\u00fc\u0259yy\u0259n olunur (Mandel\u015ftam bu \u0259s\u0259r\u0259 aid qaralama qeydl\u0259rind\u0259 yaz\u0131r: “Dinl\u0259m\u0259 v\u0259 t\u0259l\u0259ff\u00fcz aras\u0131nda orta f\u0259aliyy\u0259t m\u00f6vcuddur. Bu f\u0259aliyy\u0259t h\u0259r \u015feyd\u0259n \u0259vv\u0259l ifa\u00e7\u0131l\u0131\u011fa yax\u0131nd\u0131r v\u0259 sanki onun \u00f6z\u0259yini t\u0259\u015fkil edir. E\u015fitm\u0259 il\u0259 t\u0259l\u0259ff\u00fcz aras\u0131ndak\u0131 doldurulmam\u0131\u015f interval, \u0259slind\u0259, axmaq bir \u015feydir. Material materiya deyil” \u2013 R.N.). \u00c7evik \u00c7in conkalar\u0131yla (\u00e7aylarda v\u0259 d\u0259nizin sahil\u0259 yax\u0131n h\u00f6vz\u0259l\u0259rind\u0259 m\u00fcxt\u0259lif istiqam\u0259tl\u0259r\u0259 \u00fcz\u0259 bil\u0259n \u00c7in v\u0259 Yapon yelk\u0259nli g\u0259mil\u0259ri \u2013 R.N.). dolu \u00e7ay\u0131 enin\u0259 qa\u00e7araq ke\u00e7m\u0259lis\u0259n \u2013 poetik nitqin t\u0259m\u0259li bel\u0259 yaran\u0131r. Bu mar\u015frutu qay\u0131q\u00e7\u0131lardan soru\u015fmaqla b\u0259rpa etm\u0259k m\u00fcmk\u00fcn deyil: onlar bizim nec\u0259 v\u0259 n\u0259 \u00fc\u00e7\u00fcn bir conkadan dig\u0259rin\u0259 at\u0131ld\u0131\u011f\u0131m\u0131z\u0131 dan\u0131\u015fmayacaqlar.
\nPoetik nitq xal\u00e7a material\u0131 kimidir, onun biri-birind\u0259n yaln\u0131z ifa \u00e7alar\u0131nda, yaln\u0131z vasit\u0259 siqnalizasiyas\u0131n\u0131n \u0259mriyl\u0259 daim d\u0259yi\u015fil\u0259n partiturada \u00e7oxlu, m\u00fcxt\u0259lif tekstil \u0259saslar\u0131 var.
\nO, n\u0259mi\u015flikd\u0259n toxunmu\u015f m\u00f6hk\u0259m xal\u00e7ad\u0131r \u2013 burada tekstil m\u00f6vzusu kimi g\u00f6t\u00fcr\u00fcl\u0259n Qanq dal\u011falar\u0131 Nil v\u0259 F\u0259rat \u0259yarlar\u0131 il\u0259 qovu\u015fmur, amma h\u00f6rm\u0259l\u0259rd\u0259, fiqurlarda, ornamentl\u0259rd\u0259 r\u0259ngl\u0259r f\u0259rqlidir. Nax\u0131\u015flar bura daxil deyil, \u00e7\u00fcnki nax\u0131\u015flarda m\u0259zmun d\u0259yi\u015fmir. Ornamentin \u00f6z\u0259lliyi budur ki, o, t\u0259bi\u0259tin missiyas\u0131 bitmi\u015f bir hiss\u0259si kimi \u00f6z m\u0259n\u015f\u0259yinin izl\u0259rini qoruyub-saxlay\u0131r. Heyvani ya bitki \u0259sasl\u0131, \u00e7\u00f6l, skif, ya Misir m\u0259n\u015f\u0259li \u2013 milli v\u0259 ya yadelli olsun, f\u0259rqi yoxdur \u2013 o, h\u0259mi\u015f\u0259 dan\u0131\u015fand\u0131r, g\u00f6r\u0259ndir, h\u0259r\u0259k\u0259td\u0259 oland\u0131r.
\nOrnament misravidir. Nax\u0131\u015f s\u0259tridir (Burada Mandel\u015ftam n\u0259zml\u0259 n\u0259sri qar\u015f\u0131la\u015fd\u0131r\u0131r \u2013 R.N.). \u0130taliya qocalar\u0131n\u0131n \u015feir acl\u0131\u011f\u0131, onlar\u0131n harmoniyaya olan v\u0259h\u015fi yeniyetm\u0259 i\u015ftahas\u0131, qafiy\u0259 h\u0259v\u0259si \u2014 il disio (italyancadan t\u0259rc\u00fcm\u0259d\u0259 h\u0259v\u0259s, meyil, ehtiras \u2013 R.N) \u018fsrar\u0259ngizdir!
\nA\u011f\u0131zlar i\u015fl\u0259yir, t\u0259b\u0259ss\u00fcm \u015feiri ir\u0259li dart\u0131r, dodaqlar a\u011f\u0131ll\u0131 v\u0259 \u015f\u0259n \u015f\u0259kild\u0259 dua edir, dil inamla s\u0259maya t\u0259r\u0259f qalx\u0131r.
\n\u015eeirin daxili obraz\u0131 dan\u0131\u015fan\u0131n \u00fcz\u00fcnd\u0259 peyda olan v\u0259 dinl\u0259y\u0259ni h\u0259y\u0259cana salan says\u0131z- hesabs\u0131z ifad\u0259 d\u0259yi\u015fm\u0259l\u0259ri il\u0259 v\u0259hd\u0259t t\u0259\u015fkil edir. Nitq s\u0259n\u0259ti m\u00fctl\u0259q bizim \u00fcz\u00fcm\u00fcz\u00fc \u0259yir, onun rahatl\u0131\u011f\u0131n\u0131 pozur, maskas\u0131n\u0131 c\u0131r\u0131r… M\u0259n italyan dilini \u00f6yr\u0259nm\u0259y\u0259 ba\u015flayanda, onun fonetikas\u0131 v\u0259 vur\u011fular\u0131 il\u0259 yenic\u0259 tan\u0131\u015f olanda q\u0259fild\u0259n anlad\u0131m ki, nitq i\u015finin a\u011f\u0131rl\u0131q m\u0259rk\u0259zi dodaqlara, a\u011f\u0131za t\u0259r\u0259f yerini d\u0259yi\u015fib. Dilin ucu q\u0259fild\u0259n “yuxar\u0131 ba\u015fa ke\u00e7irilib”. S\u0259s di\u015fl\u0259rin r\u0259z\u0259sin\u0259 do\u011fru at\u0131l\u0131b. M\u0259ni heyr\u0259t\u0259 salan ba\u015fqa bir m\u0259qam italyan fonetikas\u0131n\u0131n infantilliyi, onun qeyri-adi u\u015faq, k\u00f6rp\u0259 dan\u0131\u015f\u0131\u011f\u0131na yax\u0131nl\u0131\u011f\u0131, hans\u0131sa \u0259b\u0259di dadaizm (1910-20-ci ill\u0259rd\u0259 Avropa s\u0259n\u0259tind\u0259 modern c\u0259r\u0259yan, s\u00f6z\u00fcn h\u0259rfi m\u0259nas\u0131 rabit\u0259siz k\u00f6rp\u0259 k\u0259k\u0259l\u0259m\u0259si dem\u0259kdir – \u2013 R.N.) idi.<\/p>\n
E consolando usava l\u2019idioma
\nChe prima i padri e le madri trastulla;
\n………………………………….
\nFavoleggiava con la sua famiglia
\nDe\u2019Troiani, di Fiesole, e di Roma.<\/b><\/p>\n
Layla dedi \u00fcr\u0259kd\u0259n, cavan ata-analar
\nO laylan\u0131 \u00e7ox \u0259ziz saxlar k\u00f6n\u00fcll\u0259rind\u0259
\n………………………………………………….
\nDey\u0259rdi, Troyan\u0131n, Fyezolan\u0131n, Roman\u0131n,
\n\u018fb\u0259di \u015f\u00f6hr\u0259tind\u0259n, q\u00fcdr\u0259tind\u0259n o ki var.
\n(\u201cC\u0259nn\u0259t\u201d, XV, 122 \u2014 123, 125 \u2014 126)<\/p>\n
\u0130talyan qafiy\u0259l\u0259ri il\u0259 tan\u0131\u015f olmaq ist\u0259yirsinizmi? \u0130talyan dili l\u00fc\u011f\u0259tini g\u00f6t\u00fcr\u00fcn v\u0259 ist\u0259diyiniz yerd\u0259n v\u0259r\u0259ql\u0259yin… Burada h\u0259r \u015fey bir-birin\u0259 qafiy\u0259dir. H\u0259r bir s\u00f6z concordanza (italyancadan t\u0259rc. – uy\u011funluq, ah\u0259ng \u2013\u2013 R.N.) t\u0259l\u0259b edir. Burada nikaha gir\u0259n sonluqlar\u0131n \u00e7oxlu\u011fu heyr\u0259t\u0259 sal\u0131r. \u0130talyan dilind\u0259 fel son hecaya do\u011fru g\u00fccl\u0259nir v\u0259 yaln\u0131z sonda \u00f6z h\u0259yat\u0131n\u0131 ya\u015fay\u0131r. H\u0259r bir s\u00f6z partlama\u011fa, dodaqdan \u00e7\u0131xma\u011fa, a\u011f\u0131zdan u\u00e7ub dig\u0259r s\u00f6zl\u0259r \u00fc\u00e7\u00fcn yer el\u0259m\u0259y\u0259 meyllidir.
\nMinilliyin g\u00f6z q\u0131rp\u0131m\u0131ndan da tez ke\u00e7diyi zaman\u0131n s\u0259rh\u0259dl\u0259rini c\u0131zmaq laz\u0131m g\u0259l\u0259nd\u0259 Dant \u00f6z astronomik, konsert \u00fc\u00e7\u00fcn n\u0259z\u0259rd\u0259 tutulan, d\u0259rin ictimai v\u0259 dini l\u00fc\u011f\u0259tin\u0259 u\u015faq s\u00f6zc\u00fckl\u0259rini g\u0259tirir.
\nDant\u0131n yarad\u0131c\u0131l\u0131\u011f\u0131 h\u0259r \u015feyd\u0259n \u0259vv\u0259l onun m\u00fcasiri olan italyan nitqinin vahid bir sistem kimi d\u00fcnyaya \u00e7\u0131x\u0131\u015f\u0131 dem\u0259kdir.
\nRoman dill\u0259ri aras\u0131nda \u0259n dadaistik olan\u0131 (y\u0259ni italyan \u2013 \u2013 R.N.) beyn\u0259lxalq al\u0259md\u0259 birinci yer\u0259 namiz\u0259d kimi ir\u0259li s\u00fcr\u00fcl\u00fcr.<\/p>\n
II<\/p>\n
Dant ritml\u0259ri il\u0259 ba\u011fl\u0131 misallar \u00e7\u0259km\u0259k z\u0259ruridir. Bu haqda anlay\u0131\u015f yoxdur, h\u0259r\u00e7\u0259nd, laz\u0131md\u0131r ki, olsun. Dant yarad\u0131c\u0131l\u0131\u011f\u0131n\u0131n daha \u00e7ox heyk\u0259ltara\u015fl\u0131\u011fa uy\u011fun g\u0259ldiyini dey\u0259nl\u0259r (haz\u0131r m\u0259zmuna se\u00e7il\u0259n forma bar\u0259d\u0259 t\u0259s\u0259vv\u00fcrl\u0259r bax\u0131m\u0131ndan \u2013 R.N.) bu n\u0259h\u0259ng avropal\u0131n\u0131n \u00e7ox yoxsul b\u0259dii t\u0259yinl\u0259rinin t\u0259sirin\u0259 d\u00fc\u015f\u00fcbl\u0259r. Dant poeziyas\u0131nda m\u00fcasir elm\u0259 m\u0259lum b\u00fct\u00fcn enerji n\u00f6vl\u0259ri var. \u0130\u015f\u0131q, s\u0259s v\u0259 materiyan\u0131n birliyi (materiyan\u0131n ikili m\u00f6vcudluq imkan\u0131 n\u0259z\u0259rd\u0259 tutulur: madd\u0259 v\u0259 \u015f\u00fca formas\u0131 (“i\u015f\u0131\u011f\u0131n z\u0259rr\u0259cik-dal\u011fa t\u0259bi\u0259ti” \u2013 R.N.) onun daxili mahiyy\u0259tini t\u0259\u015fkil edir. Danteni oxumaq h\u0259r \u015feyd\u0259n \u0259vv\u0259l n\u0259hay\u0259tsiz \u0259ziyy\u0259tdir, bu u\u011fur bizi \u0259sas h\u0259d\u0259fimizd\u0259n yay\u0131nd\u0131racaq. \u018fg\u0259r birinci oxunu\u015f yaln\u0131z t\u0259ngn\u0259f\u0259slik v\u0259 sa\u011flam adam \u00fc\u00e7\u00fcn d\u0259 normal say\u0131lan yor\u011funluq yaradacaqsa, n\u00f6vb\u0259ti oxunu\u015flarda ehtiyat \u00fc\u00e7\u00fcn bir c\u00fct alt\u0131 mismarl\u0131, d\u00f6z\u00fcml\u00fc \u0130sve\u00e7r\u0259 ba\u015fmaqlar\u0131 al\u0131b saxlasan\u0131z, pis olmaz. Zarafats\u0131z, a\u011fl\u0131ma sual g\u0259lir: poetik i\u015f zaman\u0131 \u0130taliyan\u0131n ke\u00e7ilm\u0259z c\u0131\u011f\u0131rlar\u0131na s\u0259yah\u0259t ed\u0259n Aligyeri \u00f6k\u00fcz d\u0259risind\u0259n haz\u0131rlanm\u0131\u015f ne\u00e7\u0259 ayaqqab\u0131 altl\u0131\u011f\u0131, ne\u00e7\u0259 s\u0259nd\u0259l xarab edib?
\n\u201cInferno\u201d (“C\u0259h\u0259nn\u0259m”) v\u0259 x\u00fcsus\u0259n d\u0259 \u201cPurgatorio\u201d (\u018fraf) insan yeri\u015fini, onun add\u0131mlar\u0131n\u0131n \u00f6l\u00e7\u00fc v\u0259 ritmini, p\u0259nc\u0259l\u0259rini v\u0259 onun formas\u0131n\u0131 v\u0259sf edir. Poetik n\u0259f\u0259s v\u0259 z\u0259ngin fikirl\u0259rl\u0259 m\u00fc\u015fayi\u0259t olunan add\u0131m\u0131 Dante vur\u011funun ba\u015flan\u011f\u0131c\u0131 kimi q\u0259bul edir. Yeri\u015f anlam\u0131n\u0131 verm\u0259k \u00fc\u00e7\u00fcn \u00e7oxlu m\u00fcxt\u0259lif v\u0259 g\u00f6z\u0259l gedi\u015fl\u0259r edir. F\u0259ls\u0259f\u0259 v\u0259 poeziya Dantda h\u0259mi\u015f\u0259 \u00fczd\u0259, ayaq\u00fcst\u0259dir. H\u0259tta dayanaca\u011f\u0131n \u00f6z\u00fc d\u0259 ehtiyat \u00fc\u00e7\u00fcn toplanm\u0131\u015f h\u0259r\u0259k\u0259tin m\u00fcxt\u0259lif \u015f\u0259kill\u0259rind\u0259n biridir: dan\u0131\u015f\u0131q \u00fc\u00e7\u00fcn meydan\u00e7a qeyri-adi c\u0259hdl\u0259rl\u0259 yaran\u0131r. \u015eeirin bir b\u00f6lg\u00fcs\u00fc \u2013 n\u0259f\u0259salma v\u0259 n\u0259f\u0259sverm\u0259 \u2013 bir add\u0131m. Add\u0131m \u2014 yekunla\u015fd\u0131r\u0131c\u0131, g\u00fcmrahla\u015fd\u0131r\u0131c\u0131d\u0131r, m\u0259ntiqi n\u0259tic\u0259y\u0259 g\u0259lm\u0259y\u0259 yard\u0131m edir. Savadl\u0131l\u0131q – \u0259n s\u00fcr\u0259tli assosiasiyalar m\u0259kt\u0259bdir. S\u00f6hb\u0259ti g\u00f6yd\u0259c\u0259 tutursan, i\u015far\u0259d\u0259n anlay\u0131rsan \u2013 bu, Dant\u0131n \u0259n sevimli t\u0259rifidir.
\nDant\u0131n anlam\u0131nda, m\u00fc\u0259llim \u015fagirdd\u0259n cavand\u0131r, \u00e7\u00fcnki daha \u201cs\u00fcr\u0259tli qa\u00e7\u0131r\u201d.<\/p>\n
Sonra da \u00e7evril\u0259r\u0259k o t\u00fcp\u00fcrd\u00fc dabana,
\nVeronada bir ya\u015f\u0131l mahud\u00e7un qa\u00e7an kimi.
\nM\u0259n\u0259 el\u0259 g\u0259lirdi durub baxd\u0131qca ona,
\nQa\u00e7ar m\u0259\u011flub kimi yox, qalib bir insan kimi
\n(“C\u0259h\u0259nn\u0259m”, XV, 121-124)<\/b><\/p>\n
Metaforan\u0131n g\u0259ncl\u0259\u015fdirici g\u00fcc\u00fc biz\u0259 savadl\u0131 qocan\u0131 \u2013 Brunetto Lattinini g\u0259nc o\u011flan \u2013 Veronadak\u0131 qa\u00e7\u0131\u015f yar\u0131\u015flar\u0131n\u0131n qalibi g\u00f6rk\u0259min\u0259 qaytar\u0131r. Dant erudisiyas\u0131 n\u0259dir?
\nAristotel qanadl\u0131 k\u0259p\u0259n\u0259k kimi Averroesin \u0259r\u0259b ha\u015fiy\u0259si il\u0259 ha\u015fiy\u0259l\u0259nib. Averrois, che il gran comento feo… Averrois, d\u00fcnyada ona ayd\u0131nd\u0131r h\u0259r \u015fey (“C\u0259h\u0259nn\u0259m”, IV, 144)
\n(Avverrois \u2014 \u0130bn R\u00fc\u015fd \u2014 (1126-1198) \u2014 \u0259r\u0259b filosofu, h\u0259kim. Onun \u0259s\u0259rl\u0259ri Dante yarad\u0131c\u0131l\u0131\u011f\u0131na b\u00f6y\u00fck t\u0259sir g\u00f6st\u0259rib. Mandel\u015ftam sitatlar\u0131 oldu\u011fu kimi saxlasa da, n\u0259 \u00fc\u00e7\u00fcns\u0259 onun ad\u0131n\u0131 \u0259s\u0259rind\u0259 Averroes kimi qeyd edir \u2013 R.N.)
\nBu halda \u0259r\u0259b Averroes yunan Aristoteli m\u00fc\u015fayi\u0259t edir. Onlar eyni bir tablonun komponentl\u0259ridir. Onlar bir qu\u015fun eyni qanad\u0131 \u00fcz\u0259rind\u0259dirl\u0259r. \u201c\u0130nferno\u201dnun d\u00f6rd\u00fcnc\u00fc n\u0259\u011fm\u0259sinin sonu \u0259sl sitatlar orgiyas\u0131d\u0131r. M\u0259n burada Dant\u0131n t\u0259hkiy\u0259\u00e7i klaviaturas\u0131n\u0131n pak v\u0259 xalis n\u00fcmayi\u015fini g\u00f6r\u00fcr\u0259m. B\u00fct\u00fcn antik d\u00fcnyag\u00f6r\u00fc\u015f\u00fcn\u0259 klavi\u015f g\u0259zintisi. \u015eopenin hans\u0131sa polonezi \u2013 qanl\u0131 quz\u011fun g\u00f6zl\u0259riyl\u0259 silahl\u0131 Sezar v\u0259 materiyan\u0131 atomlara ay\u0131ran Demokrit d\u0259 burada eyni c\u0259rg\u0259d\u0259dirl\u0259r.
\nSitat \u00e7\u0131xar\u0131\u015f deyil. Sitat c\u0131rc\u0131ramad\u0131r (Burada Mandel\u015ftam rus dilinin imkanlar\u0131ndan istifad\u0259 ed\u0259r\u0259k qafiy\u0259li b\u0259nz\u0259tm\u0259d\u0259n istifad\u0259 edir – “sitata”-“sikada” \u2013 sitat v\u0259 c\u0131rc\u0131rama \u2013 R.N.). Bir an bel\u0259 susmur. Xasiyy\u0259ti budur. Havan\u0131n sanki yaxas\u0131ndan tutub buraxm\u0131r. Erudisiya el\u0259 t\u0259hsilin mahiyy\u0259tini t\u0259\u015fkil ed\u0259n sadalay\u0131c\u0131 klaviatura il\u0259 he\u00e7 d\u0259 eyni \u015fey deyil.
\nDem\u0259k ist\u0259yir\u0259m ki, kompozisiya ayr\u0131-ayr\u0131 hiss\u0259l\u0259rin toplusu deyil, detallar\u0131n bir-birinin ard\u0131nca \u0259\u015fyadan ayr\u0131lmas\u0131, uzaqla\u015fmas\u0131, q\u0131\u015f kimi p\u0131r\u0131lday\u0131b u\u00e7mas\u0131, sistemd\u0259n qopmas\u0131, \u00f6z funksional m\u0259kan\u0131na v\u0259 ya \u00f6l\u00e7\u00fcs\u00fcn\u0259 \u00e7\u0259kilm\u0259si n\u0259tic\u0259sind\u0259 yaran\u0131r. Amma h\u0259r d\u0259f\u0259 bu, qanunla g\u00f6st\u0259rilmi\u015f m\u00fcdd\u0259td\u0259 v\u0259 bel\u0259 yegan\u0259 situasiya \u00fc\u00e7\u00fcn kifay\u0259t q\u0259d\u0259r yetkin \u015f\u0259rtl\u0259rl\u0259 ba\u015f verir (Daha sonra \u0259s\u0259rin detallar\u0131 atomun bir haldan dig\u0259rin\u0259 ke\u00e7\u0259rk\u0259n buraxd\u0131\u011f\u0131 enerji hiss\u0259cikl\u0259rin\u0259 – kvantlara b\u0259nz\u0259dilir. Mandel\u015ftam\u0131n fikrinc\u0259, “Dant\u0131 yaln\u0131z kvant fizikas\u0131n\u0131n k\u00f6m\u0259yi il\u0259 anlamaq olar” \u2013 R.N.)
\nBiz \u0259\u015fyalar\u0131n \u00f6zl\u0259rini tan\u0131m\u0131r\u0131q, amma onlar\u0131n yerl\u0259\u015fm\u0259sin\u0259 \u00e7ox h\u0259ssasl\u0131qla yana\u015f\u0131r\u0131q. Dant\u0131 oxumaqla sanki h\u0259rbi \u0259m\u0259liyyatlar ke\u00e7iril\u0259n meydandan informasiya al\u0131r\u0131q v\u0259 bu x\u0259b\u0259rl\u0259r \u0259sas\u0131nda qula\u011f\u0131m\u0131za m\u00fcharib\u0259 simfoniyas\u0131n\u0131n s\u0259si g\u0259lir, h\u0259r\u00e7\u0259nd, ayr\u0131-ayr\u0131l\u0131qda h\u0259r b\u00fclleten strateji bayraqlar\u0131 hardasa bir az da ir\u0259li \u00e7\u0259kir v\u0259 ya hans\u0131sa d\u0259yi\u015fiklikl\u0259r\u0259 gurultu tembrind\u0259 i\u015far\u0259 edir.
\nBel\u0259likl\u0259, \u0259\u015fya \u00f6z\u00fc m\u0259cmu kimi \u00f6z daxilin\u0259 n\u00fcfuz etmi\u015f vahid f\u0259rql\u0259ndirici impuls n\u0259tic\u0259sind\u0259 meydana g\u0259lir. O, bir an bel\u0259 \u00f6z\u00fcn\u0259 ox\u015far \u015f\u0259kild\u0259 qalm\u0131r. \u018fg\u0259r atom n\u00fcv\u0259sini par\u00e7alayan fizik onu yenid\u0259n toplamaq ist\u0259s\u0259ydi, o, t\u0259sviri v\u0259 t\u0259fsiri poeziyan\u0131n t\u0259r\u0259fdarlar\u0131n\u0131n i\u015fin\u0259 yarayard\u0131. Dant is\u0259 \u0259srl\u0259rc\u0259 bel\u0259 poeziya t\u0259r\u0259fdarlar\u0131 \u00fc\u00e7\u00fcn \u0259b\u0259di v\u0259ba v\u0259 tufan olacaq.
\nBiz Dant\u0131 dinl\u0259m\u0259yi \u00f6yr\u0259n\u0259 bils\u0259ydik, o zaman klarnetin v\u0259 trombonun (n\u0259f\u0259sli musiqi al\u0259ti \u2013 R.N.) t\u0259kmill\u0259\u015fdiyini, skripkan\u0131n violaya (simli musiqi al\u0259t \u2013 R.N.) nec\u0259 ke\u00e7diyini v\u0259 valtornan\u0131n (buynuza b\u0259nz\u0259r n\u0259f\u0259sli musiqi al\u0259ti \u2013 R.N..) ventilinin (n\u0259f\u0259sli al\u0259tl\u0259rd\u0259 s\u0259si azaltmaq \u00fc\u00e7\u00fcn x\u00fcsusi hiss\u0259 \u2013 R.N.) uzand\u0131\u011f\u0131n\u0131 e\u015fid\u0259rdik. \u018ftrafda ud v\u0259 teorblar\u0131n g\u0259l\u0259c\u0259k \u00fc\u00e7hiss\u0259li m\u00fc\u015fayi\u0259tedici orkestrinin dumanl\u0131 n\u00fcv\u0259sinin nec\u0259 yarand\u0131\u011f\u0131n\u0131n dinl\u0259y\u0259 bil\u0259rdik.
\nBir d\u0259, biz Dant\u0131 e\u015fits\u0259k, q\u0259fil gah bitkinliyin\u0259 g\u00f6r\u0259 kompozisiya, gah hiss\u0259l\u0259rin\u0259 g\u00f6r\u0259 metafora, gah qeyri-m\u00fc\u0259yy\u0259nliyin\u0259 g\u00f6r\u0259 m\u00fcqayis\u0259 adland\u0131r\u0131lan g\u00fccl\u00fc ax\u0131n\u0131n i\u00e7\u0259risin\u0259 d\u00fc\u015f\u0259rdik. Bunlar b\u00fct\u00fcnl\u00fck t\u0259\u015fkil edir, m\u0259tnd\u0259n \u00e7\u0131x\u0131r v\u0259 ona qay\u0131d\u0131r, onun i\u00e7\u0259risind\u0259 \u0259riyir v\u0259 ilk yaran\u0131\u015f sevincini duyan kimi d\u0259 \u00f6z\u00fcn\u00fcn m\u0259n\u015f\u0259yini itirir, m\u0259nalar aras\u0131ndan boy ver\u0259n v\u0259 onlar\u0131n ham\u0131s\u0131n\u0131 yuyub sil\u0259n materiyaya qar\u0131\u015f\u0131r.
\n\u201cC\u0259h\u0259nn\u0259m\u201din onuncu n\u0259\u011fm\u0259sinin ba\u015flan\u011f\u0131c\u0131. Dant bizi kompozisiya qar\u0131\u015f\u0131\u011f\u0131n\u0131n daxili qaranl\u0131\u011f\u0131na it\u0259l\u0259yir:<\/p>\n
Qala divarlar\u0131n\u0131 i\u015fg\u0259nc\u0259 yerl\u0259rind\u0259n ay\u0131raraq,
\nuzanan o yolun q\u0131ra\u011f\u0131yla yeriyir m\u00fc\u0259llimim,
\ngedir\u0259m ard\u0131nca m\u0259n
\n(“C\u0259h\u0259nn\u0259m”, X, 1-3)<\/b><\/p>\n
B\u00fct\u00fcn c\u0259hdl\u0259r bu yerl\u0259rin qaranl\u0131\u011f\u0131 v\u0259 ke\u00e7ilm\u0259zliyi il\u0259 m\u00fcbariz\u0259y\u0259 y\u00f6n\u0259lib. \u0130\u015f\u0131q formalar\u0131 dama\u011f\u0131 yar\u0131b \u00e7\u0131xma\u011fa \u00e7al\u0131\u015fan di\u015fl\u0259r\u0259 b\u0259nz\u0259yir. Ma\u011farada m\u0259\u015f\u0259l\u0259 n\u0259 q\u0259d\u0259r ehtiyac varsa, burada da bir o q\u0259d\u0259r s\u00f6hb\u0259t\u0259 ehtiyac var.
\nDant he\u00e7 vaxt materiyayla birba\u015fa d\u00f6y\u00fc\u015fm\u00fcr, h\u0259mi\u015f\u0259 \u00f6nc\u0259d\u0259n onu tutmaq \u00fc\u00e7\u00fcn qur\u011fu qurur, n\u00f6vb\u0259ti damc\u0131layan v\u0259 ya \u0259riy\u0259n konkret zaman hiss\u0259sini hesablamaq \u00fc\u00e7\u00fcn \u00f6l\u00e7\u00fc vahidiyl\u0259 silahlan\u0131r. \u00d6l\u00e7\u00fcs\u00fc olan v\u0259 b\u00fct\u00fcnl\u00fckd\u0259 bu \u00f6l\u00e7\u00fcy\u0259 hesablanan poeziyada h\u0259r \u015fey onun \u0259traf\u0131nda v\u0259 onun \u00fc\u00e7\u00fcn h\u0259rl\u0259nir, \u00f6l\u00e7\u00fc al\u0259tl\u0259ri, \u0259slind\u0259, x\u00fcsusi \u00f6z\u0259lliy\u0259 malik silahd\u0131r, onlar f\u0259al funksiyalara malikdir. Kompas\u0131n titr\u0259k \u0259qr\u0259bl\u0259ri burada t\u0259kc\u0259 maqnit qas\u0131r\u011fas\u0131 \u00fczr\u0259 h\u0259r\u0259k\u0259t etmir, h\u0259m d\u0259 bu qas\u0131r\u011fan\u0131 \u00f6z\u00fc yarad\u0131r.
\nV\u0259 budur biz g\u00f6r\u00fcr\u00fck ki, \u201cC\u0259h\u0259nn\u0259m\u201din onuncu n\u0259\u011fm\u0259sinin dialoqu m\u00fcv\u0259qq\u0259ti fel formalar\u0131 il\u0259 z\u0259ngindir \u2013 q\u0259ti v\u0259 qeyri-q\u0259ti ke\u00e7mi\u015f, \u015f\u0259rti ke\u00e7mi\u015f, indiki v\u0259 g\u0259l\u0259c\u0259k zaman onuncu n\u0259\u011fm\u0259d\u0259 q\u0259ti, m\u00fctl\u0259q v\u0259 qa\u00e7\u0131lmaz formada verilib.
\nB\u00fct\u00fcnl\u00fckd\u0259 n\u0259\u011fm\u0259 m\u0259tnd\u0259n \u0259d\u0259bsizc\u0259sin\u0259 adam\u0131n g\u00f6z\u00fcn\u0259 d\u00fcrt\u00fcl\u0259n bir ne\u00e7\u0259 feli s\u0131\u00e7ray\u0131\u015f \u00fcz\u0259rind\u0259 qurulub. Burada sanki q\u0131l\u0131ncoynatma yar\u0131\u015f\u0131n\u0131n c\u0259dv\u0259li verilib v\u0259 biz d\u0259 fell\u0259rin nec\u0259 d\u0259yi\u015fdiyini s\u00f6z\u00fcn h\u0259qiqi m\u0259nas\u0131nda e\u015fidirik.<\/p>\n
Birinci s\u0131\u00e7ray\u0131\u015f:
\n\u00abLa gente che per li sepolcri giace
\nPotrebbesi veder?..\u00bb
\n“Q\u0259birl\u0259rin \u00f6rt\u00fcy\u00fc qald\u0131rl\u0131bd\u0131r, bu an
\nKe\u015fik\u00e7il\u0259r d\u0259 yoxdur…”
\n(C\u0259h\u0259nn\u0259m, X, 7-8)<\/b><\/p>\n
\u0130kinci s\u0131\u00e7ray\u0131\u015f:
\n“…Volgiti: chefai?”
\n“Dayan, neynirs\u0259n?” (Farinatan\u0131n yanan m\u0259zar\u0131ndan \u00e7\u0131xan k\u00f6lg\u0259d\u0259n qorxan Vergilinin Dantey\u0259 m\u00fcraci\u0259ti)
\nBurada indiki an\u0131n b\u00fct\u00fcn d\u0259h\u015f\u0259ti, hans\u0131sa terrorpraesentis m\u0259qam\u0131 (lat. indiki zaman\u0131n terroru \u2013 R.N.) verilib. Burada qatq\u0131s\u0131z indi s\u0259rh\u0259d kimi g\u00f6t\u00fcr\u00fcl\u00fcr. G\u0259l\u0259c\u0259kd\u0259n v\u0259 ke\u00e7mi\u015fd\u0259n tamamil\u0259 t\u0259crid olunmu\u015f indi tam bir qorxu, t\u0259hl\u00fck\u0259 il\u0259 uzla\u015f\u0131r.
\nTersinada (\u00fc\u00e7l\u00fck, \u015feir \u2013 R.N.) ba\u015f ver\u0259nl\u0259r\u0259 g\u00f6r\u0259 m\u0259suliyy\u0259ti \u00f6z \u00fcz\u0259rind\u0259n atan ke\u00e7mi\u015fin \u00fc\u00e7 \u00e7alar\u0131 t\u0259qdim olunur:
\n
\nM\u0259n onun \u00e7\u00f6hr\u0259sini seyr el\u0259dim doyunca;
\nC\u0259h\u0259nn\u0259m\u0259 el\u0259 bil kin sa\u00e7\u0131rd\u0131 o g\u00f6zl\u0259r,
\nSin\u0259sini qabard\u0131b, ba\u015f\u0131n\u0131 tutub uca.<\/b><\/p>\n
(“C\u0259h\u0259nn\u0259m”, X, 34-37)
\nSonra Farinatan\u0131n sual\u0131ndak\u0131 ke\u00e7mi\u015f g\u00fccl\u00fc n\u0259f\u0259sli boru al\u0259tinin s\u0259si kimi \u0259trafa yay\u0131l\u0131r:
\n\u00ab…Chi fur li maggior tui?\u00bb \u2014 “S\u0259nin \u0259cdadlar\u0131n kim olub?”
\nBurada \u201cfuron\u201d \u0259v\u0259zin\u0259 k\u00f6m\u0259k\u00e7i \u201cfur\u201d q\u0131sald\u0131lm\u0131\u015f formas\u0131 nec\u0259 peyda olur! B\u0259lk\u0259, valtorna da el\u0259 bel\u0259c\u0259 ventilin uzanmas\u0131 say\u0259sind\u0259 yaran\u0131b?
\nSonra q\u0259ti ke\u00e7mi\u015fl\u0259 i\u015far\u0259 edilir. Bu i\u015far\u0259 qoca Kavalkanti il\u0259 ba\u011fl\u0131d\u0131r: o, h\u0259l\u0259 ya\u015famaqda olan \u015fair o\u011flu Qvido Kavalkanti bar\u0259d\u0259 onun ya\u015f\u0131d\u0131 v\u0259 dostu Aligyerid\u0259n e\u015fidib, amma yen\u0259 d\u0259 n\u0259hs bir q\u0259ti ke\u00e7mi\u015f zamanda: \u201cebbe\u201d (\u201colmaq\u201d k\u00f6m\u0259k\u00e7i felinin ke\u00e7mi\u015f zaman formas\u0131 \u2013 R.N.)
\nN\u0259 g\u00f6z\u0259l ki, m\u0259hz bu ifad\u0259 \u0259sas dialoq ax\u0131n\u0131na yol a\u00e7\u0131r: Kavalkanti missiyas\u0131n\u0131 bitirmi\u015f qoboy v\u0259 klarnet kimi qeyb\u0259 \u00e7\u0259kilir, Farinata is\u0259 (Florensiyada partiyalar aras\u0131 m\u00fcbariz\u0259l\u0259rd\u0259 i\u015ftiak etmi\u015f Farinata deli Uberti – XIII \u0259srin \u0259vv\u0259li \u2014 1261) astag\u0259l \u015fahmat\u00e7\u0131 kimi yar\u0131da qoydu\u011fu yola davam edir, yenid\u0259n h\u00fccuma ke\u00e7ir:<\/p>\n
O, t\u0259z\u0259d\u0259n ba\u015flad\u0131: “Bu, a\u011f\u0131r g\u0259lir m\u0259n\u0259”,
\n\u018fablar\u0131mdan uca tuturam bu d\u0259h\u015f\u0259ti
\nKi, onlar vaqif deyil h\u0259yat\u0131n bu sirrin\u0259
\n(“C\u0259h\u0259nn\u0259m”, X, 76-79)<\/b><\/p>\n
“C\u0259h\u0259nn\u0259m\u201din onuncu n\u0259\u011fm\u0259d\u0259ki dialoq situasiyan\u0131n t\u0259sad\u00fcfi a\u00e7ar\u0131d\u0131r. O, sanki iki \u00e7ay aras\u0131nda bulaq kimi \u00f6z-\u00f6z\u00fcnd\u0259n qaynay\u0131r.
\nEnsiklopedik xarakterli b\u00fct\u00fcn faydal\u0131 m\u0259lumatlar n\u0259\u011fm\u0259nin ilk b\u0259ndl\u0259rind\u0259 t\u0259qdim olunur. S\u00f6hb\u0259tin amplitudu astaca, amma inadla geni\u015fl\u0259nir; dolay\u0131s\u0131yla k\u00fctl\u0259vi s\u0259hn\u0259l\u0259r v\u0259 k\u00fctl\u0259 obraz\u0131 oraya daxil edilir.
\nH\u0259bs\u0259 d\u00fc\u015fm\u00fc\u015f z\u0259ngin a\u011fa kimi c\u0259h\u0259nn\u0259m\u0259 nifr\u0259t ed\u0259n Farinata aya\u011fa qalxanda s\u00f6hb\u0259tin k\u0259fkiri art\u0131q ba\u015fdan-ba\u015fa odlu m\u0259ftill\u0259rl\u0259 b\u00f6l\u00fcnm\u00fc\u015f qaranl\u0131q d\u00fcz\u0259ngah\u0131n b\u00fct\u00fcn diametri boyunca yell\u0259nir.<\/p>\n
<\/p>\n
Kaspi q\u0259zeti<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/p>\n Yaz\u0131ya 639 d\u0259f\u0259 bax\u0131l\u0131b<\/p>\n","protected":false},"excerpt":{"rendered":" M\u0259n bu sayaq \u00e7\u0131\u011f\u0131rd\u0131m ba\u015f\u0131m\u0131 qald\u0131raraq (\u201cC\u0259h\u0259nn\u0259m\u201d, XVI, 76 \u2013 \u201c\u0130lahi komediya\u201ddan sitat \u018flia\u011fa K\u00fcr\u00e7ayl\u0131n\u0131n t\u0259rc\u00fcm\u0259sind\u0259 verilib \u2013 R.N.) Poetik nitq ikili s\u0259sl\u0259nm\u0259d\u0259n ibar\u0259t qovu\u015fuq prosesidir: bu s\u0259sl\u0259nm\u0259l\u0259rd\u0259n birincisi el\u0259 prosesin q\u0131z\u011f\u0131n gedi\u015find\u0259 poetik nitq al\u0259tl\u0259rind\u0259 (ifad\u0259 vasit\u0259l\u0259rind\u0259 \u2013 red.) ba\u015f ver\u0259n d\u0259yi\u015fiklikd\u0259n ibar\u0259tdir, biz onu e\u015fidir v\u0259 hiss edirik; ikinci s\u0259sl\u0259nm\u0259 is\u0259 el\u0259 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[17,21],"tags":[],"_links":{"self":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/10315"}],"collection":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10315"}],"version-history":[{"count":2,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/10315\/revisions"}],"predecessor-version":[{"id":10318,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/10315\/revisions\/10318"}],"wp:attachment":[{"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10315"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10315"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}