{"id":7904,"date":"2015-01-27T22:20:29","date_gmt":"2015-01-27T18:20:29","guid":{"rendered":"http:\/\/kultur.az\/?p=7904"},"modified":"2015-01-27T22:20:29","modified_gmt":"2015-01-27T18:20:29","slug":"n%c9%99rgiz-cabbarli-modernist-eksperimental-seir-v%c9%99-cagdas-poeziyada-neomodernizm-dalgasi","status":"publish","type":"post","link":"https:\/\/kultur.az\/?p=7904","title":{"rendered":"N\u0259rgiz CABBARLI — MODERNIST-EKSPERIMENTAL \u015eEIR V\u018f \u00c7A\u011eDA\u015e POEZIYADA \u201cNEOMODERNIZM\u201d DAL\u011eASI"},"content":{"rendered":"

\"images\"<\/a>\u00a0Modernizm XX \u0259srin \u0259vv\u0259ll\u0259rinin hadis\u0259si idi. D\u00fcnya \u0259d\u0259biyyat\u0131, f\u0259ls\u0259f\u0259 v\u0259 inc\u0259s\u0259n\u0259t d\u0259 daxil olmaqla 50-60-c\u0131 ill\u0259rd\u0259n ba\u015flayaraq neomodernizm, postmodernizm, postpostmodernizm m\u0259rh\u0259l\u0259sini ya\u015fay\u0131r.<\/span>
\u201cModernizm v\u0259 postmodernizm XX \u0259srin hadis\u0259si olmas\u0131na baxmayaraq bizd\u0259 yaln\u0131z 90-c\u0131 ill\u0259rd\u0259n onlar haqq\u0131nda geni\u015f dan\u0131\u015f\u0131lma\u011fa ba\u015fland\u0131\u201d yazan t\u0259dqiqat\u00e7\u0131 S.M\u0259mm\u0259dova, t\u0259\u0259ss\u00fcf ki, m\u00fc\u0259yy\u0259n d\u0259qiq m\u00fc\u015fahid\u0259l\u0259rin\u0259 baxmayaraq, konkret n\u00fcmun\u0259l\u0259r \u0259sas\u0131nda t\u0259hlill\u0259r vermir (8, 103).\u00a0<\/span>
Az\u0259rbaycan poeziyas\u0131 v\u0259 \u0259d\u0259biyyat\u0131 modernizmi bir epoxa kimi ya\u015famay\u0131b. Modernizm he\u00e7 vaxt \u0259d\u0259biyyat\u0131m\u0131zda b\u0259lli s\u0259rh\u0259dl\u0259ri olan c\u0259r\u0259yana \u00e7evrilm\u0259yib. O, forma eksperimentl\u0259rind\u0259, m\u0259tnin m\u0259zmununda, strukturunda, istifad\u0259 edil\u0259n ifad\u0259 vasit\u0259l\u0259rind\u0259 \u0259n\u0259n\u0259d\u0259n uzaqla\u015fmada, d\u00fc\u015f\u00fcnc\u0259 stereotipl\u0259rinin d\u0259yi\u015fk\u0259nliyind\u0259 m\u00f6vcud olub. T\u0259nqid\u00e7i V.Yusiflinin bu fikirl\u0259ri il\u0259 tam m\u0259nada raz\u0131la\u015fmaq olar ki: \u201cAz\u0259rbaycan poeziyas\u0131na g\u0259ldikd\u0259, modernizm bir c\u0259r\u0259yan kimi deyil, yaln\u0131z bir t\u0259may\u00fcl (\u015feirimizin \u00e7oxt\u0259may\u00fcll\u00fcl\u00fcy\u00fc s\u0131ras\u0131nda) kimi m\u00f6vcud olmu\u015fdur\u201d (11, 340)<\/span>
\u00dcmumiyy\u0259tl\u0259, bir s\u0131ra t\u0259dqiqat\u00e7\u0131lar\u0131n bununla ba\u011fl\u0131 \u00fcmumi q\u0259na\u0259tl\u0259ri m\u00f6vcuddur. M\u0259s\u0259l\u0259n, elmi-n\u0259z\u0259ri \u0259d\u0259biyyatda 70-80-ci ill\u0259r Az\u0259rbaycan \u0259d\u0259biyyat\u0131n\u0131n modernizm d\u00f6vr\u00fcn\u00fcn ba\u015flan\u011f\u0131c\u0131 kimi t\u0259hlil edilir. Professor N.C\u0259f\u0259rov XX \u0259srd\u0259 poeziyan\u0131n imkanlar\u0131n\u0131n geni\u015fl\u0259ndiyini s\u00f6yl\u0259y\u0259r\u0259k, bunun iki m\u0259kt\u0259b, yaxud tendensiya \u0259sas\u0131nda formala\u015fd\u0131\u011f\u0131n\u0131 g\u00f6st\u0259rirdi. Onlardan biri R\u0259sul Rzan\u0131n yaratd\u0131\u011f\u0131 modernist-eksperimental m\u0259kt\u0259b, dig\u0259ri is\u0259, S\u0259m\u0259d Vur\u011funun r\u0259hb\u0259rlik etdiyi \u0259n\u0259n\u0259vi m\u0259kt\u0259b idi.\u00a0<\/span>
T\u0259nqid\u00e7i V.Yusiflinin d\u0259 q\u0259na\u0259ti t\u0259xmin\u0259n eynidir. O da Az\u0259rbaycan\u0131n ilk modernist \u015fairi kimi R.Rzan\u0131n ad\u0131n\u0131 \u00e7\u0259kir v\u0259 bununla ba\u011fl\u0131 bel\u0259 bir fikir ir\u0259li s\u00fcr\u00fcr ki: \u201cR.Rzan\u0131 ilk modernist kimi q\u0259bul etm\u0259y\u0259n v\u0259 bu \u201cilk\u201d k\u0259lm\u0259sini \u00f6zl\u0259rinin yaratd\u0131\u011f\u0131 \u201cBaca\u201d \u0259d\u0259bi qrupunun n\u00fcmay\u0259nd\u0259l\u0259rin\u0259 aid ed\u0259n Azad Ya\u015far v\u0259 el\u0259c\u0259 d\u0259 Rasim Qaracan\u0131n bir \u00e7ox \u015feirl\u0259ri m\u0259hz R\u0259sul Rzan\u0131n \u201cR\u0259ngl\u0259r\u201dinin t\u0259siri alt\u0131nda yaz\u0131lm\u0131\u015fd\u0131r\u201d(11, 340-343)<\/span>
N.C\u0259f\u0259rov is\u0259, h\u0259r iki m\u0259kt\u0259bin davam\u00e7\u0131lar\u0131n\u0131n adlar\u0131n\u0131 sadalayaraq, B\u0259xtiyar Vahabzad\u0259, H\u00fcseyn Arif, N\u0259bi X\u0259zri, N\u0259riman H\u0259s\u0259nzad\u0259, M\u0259mm\u0259d Araz, Qabili \u0259n\u0259n\u0259vi m\u0259kt\u0259b\u0259, \u018fli K\u0259rim, Fikr\u0259t Qoca, Fikr\u0259t Sad\u0131q, Vaqif S\u0259m\u0259do\u011flu, \u018fl\u0259kb\u0259r Salahzad\u0259, Vaqif C\u0259bray\u0131lzad\u0259ni is\u0259, modernist eksperimental m\u0259kt\u0259b\u0259 aid edir (2, 155). Onun sonrak\u0131 fikirl\u0259ri daha \u00e7ox maraq do\u011furur. Bel\u0259 ki, N.C\u0259f\u0259rov bir s\u0131ra \u015fairl\u0259rin bu iki tendensiyan\u0131 \u00f6z yarad\u0131c\u0131l\u0131qlar\u0131nda birl\u0259\u015fdirm\u0259y\u0259 \u00e7al\u0131\u015fd\u0131qlar\u0131n\u0131 g\u00f6st\u0259r\u0259r\u0259k bu c\u0259rg\u0259ni bel\u0259 m\u00fc\u0259yy\u0259nl\u0259\u015fdirirdi: \u00abOnlar\u0131n \u0259n b\u00f6y\u00fcy\u00fc, \u015f\u00fcbh\u0259siz, bir az sonra istiqlal \u015fairi kimi m\u0259\u015fhurla\u015fan X\u0259lil Rza Ulut\u00fcrk idi. V\u0259 buraya m\u00fcasir Az\u0259rbaycan poeziyas\u0131nda h\u0259r birinin yeri olan Abbas Abdullan\u0131, M\u0259mm\u0259d \u0130smay\u0131l\u0131, Ramiz R\u00f6v\u015f\u0259ni, N\u00fcsr\u0259t K\u0259s\u0259m\u0259nlini aid etm\u0259k m\u00fcmk\u00fcnd\u00fcr\u00bb (2, 155).\u00a0<\/span>
\u018flb\u0259tt\u0259, bu fikirl\u0259 m\u00fcbahis\u0259 etm\u0259k olar. \u00c7\u00fcnki M\u0259mm\u0259d \u0130smay\u0131l da, N\u00fcsr\u0259t K\u0259s\u0259m\u0259nli d\u0259, Ramiz R\u00f6v\u015f\u0259n d\u0259 daha \u00e7\u00f6x \u0259n\u0259n\u0259vi poeziya \u201cx\u0259ttind\u0259\u201d g\u00f6r\u00fcn\u00fcrl\u0259r v\u0259 bunu s\u00fcbut etm\u0259k he\u00e7 d\u0259 \u00e7\u0259tin deyil. X\u00fcsusil\u0259 d\u0259 yarad\u0131c\u0131l\u0131qlar\u0131nda heca v\u0259 xalq \u015feiri formalar\u0131n\u0131n \u00fcst\u00fcnl\u00fcy\u00fc, genetik yadda\u015fdan g\u0259l\u0259n \u0259n\u0259n\u0259vi deyim, ifad\u0259 v\u0259 t\u0259svir fiqurlar\u0131na \u00e7ox yer verilm\u0259si v\u0259 s. il\u0259. Amma bizim ara\u015fd\u0131rd\u0131\u011f\u0131m\u0131z problem bu deyil. Maraql\u0131 olan Az\u0259rbaycan poeziyas\u0131nda ilk modernist meyill\u0259rin yarand\u0131\u011f\u0131, m\u00fc\u015fahid\u0259 edildiyi o m\u0259rh\u0259l\u0259d\u0259 he\u00e7 bir \u0259d\u0259bi qrupun meydana \u00e7\u0131xmamas\u0131, c\u0259r\u0259yan\u0131n r\u0259smi olaraq etiraf edilm\u0259m\u0259si fakt\u0131d\u0131r. Manifestasiya, birl\u0259\u015fm\u0259, \u0259n\u0259n\u0259ni inkar, bunu a\u00e7\u0131q-ayd\u0131n elan etm\u0259 d\u00fcnyada b\u00fct\u00fcn modernist c\u0259r\u0259yanlar\u0131n \u0259sas x\u00fcsusiyy\u0259ti olub. Modernizm sosial-siyasi z\u0259mind\u0259 yeti\u015fib v\u0259 \u00f6z a\u00e7\u0131q m\u00fcbariz\u0259 formas\u0131 il\u0259 meydana \u00e7\u0131x\u0131b. Az\u0259rbaycan poeziyas\u0131nda sosial-siyasi z\u0259mind\u0259 etiraz ruhu sovet d\u00f6vr\u00fcnd\u0259 poeziyan\u0131n daha alt qatlar\u0131nda olmu\u015f, yaln\u0131z 80-ci ill\u0259rin sonlar\u0131na do\u011fru milli – azadl\u0131q m\u00fccadil\u0259sinin ba\u015flamas\u0131 il\u0259 \u00fcst qata transformasiya edil\u0259, h\u0259m d\u0259 daha \u00e7ox avanqard\u00e7\u0131lar\u0131n \u00e7\u0131x\u0131\u015flar\u0131nda etiraz\u0131n v\u0259 inkar\u0131n y\u00fcks\u0259k h\u0259ddin\u0259 y\u00fcks\u0259l\u0259 bilmi\u015fdir. Avanqarddan \u00f6z t\u0259mkinliliyi il\u0259 se\u00e7il\u0259n modernizm is\u0259, bizim poeziyada var oldu\u011funu \u201cba\u011f\u0131rmay\u0131b\u201d.<\/span>
V.Yusifli yaz\u0131r: \u201cAltm\u0131\u015f\u0131nc\u0131 ill\u0259rd\u0259 modern \u015feir Az\u0259rbaycan poeziyas\u0131 m\u0259nz\u0259r\u0259sind\u0259 yaln\u0131z eksperiment t\u0259siri ba\u011f\u0131\u015flad\u0131 v\u0259 el\u0259 bu s\u0259b\u0259bd\u0259n ona qar\u015f\u0131 m\u00fcqavim\u0259tin olmas\u0131 t\u0259bii idi. Geni\u015f oxucu k\u00fctl\u0259si bu tipli \u015feirl\u0259ri q\u0259bul etm\u0259y\u0259 h\u0259l\u0259 haz\u0131r deyildi, amma h\u0259min prosesi dayand\u0131rmaq, onun qar\u015f\u0131s\u0131n\u0131 almaq imkan xaricind\u0259 idi. \u0130lk Az\u0259rbaycan modernistl\u0259ri \u00f6zl\u0259ri d\u0259 bu prosesin n\u0259 il\u0259 n\u0259tic\u0259l\u0259n\u0259c\u0259yinin f\u0259rqind\u0259 deyildil\u0259r, onlar m\u00fcmk\u00fcn q\u0259d\u0259r \u0259n\u0259n\u0259vi \u015feirin dar q\u0259f\u0259sind\u0259n xilas olma\u011fa, qurtulma\u011fa \u00e7al\u0131\u015f\u0131rd\u0131lar\u201d. (11, 348) Bu \u201cqurtulma\u201d prosesi dayanmasa da, ikinci \u201cyenid\u0259n oyan\u0131\u015f\u201d, \u201cneomodernizm\u201d m\u0259rh\u0259l\u0259si 90-c\u0131 ill\u0259rd\u0259 ba\u015flad\u0131. H\u0259tta \u201c\u015feird\u0259 tamamlanmam\u0131\u015f modernizm dal\u011fas\u0131 ikinci dal\u011faya qovu\u015fdu\u201d da dey\u0259 bil\u0259rik. Modernizm sosial-siyasi v\u0259ziyy\u0259ti, klassik \u0259n\u0259n\u0259l\u0259ri \u201celan olunan\u201d, \u201cepataj s\u0259ciyy\u0259li\u201d deyil, nisb\u0259t\u0259n \u201csusqun\u201d inkar z\u0259minind\u0259 g\u00f6r\u00fcnm\u0259kl\u0259 \u00f6z\u00fcn\u00fc t\u0259qdim etdi.\u00a0<\/span>
Modernizml\u0259 ba\u011fl\u0131 maraql\u0131 d\u0259y\u0259rl\u0259ndirm\u0259l\u0259rd\u0259n biri d\u0259 t\u0259nqid\u00e7i alim R\u0259him \u018fliyev\u0259 m\u0259xsusdur. \u201cQafiy\u0259siz v\u0259 ya s\u0259rb\u0259st \u015feir\u0259 \u0259d\u0259biyyatda modernist eksperiment\u00e7iliyin bir qolu kimi baxmaq daha do\u011fru olar\u201d,- yazan t\u0259dqiqat\u00e7\u0131 daha sonra bildirir: \u201cModernistl\u0259ri iki qrupa b\u00f6lm\u0259k olar. Onlardan bir hiss\u0259si s\u0259n\u0259td\u0259 islahat\u00e7\u0131l\u0131q t\u0259r\u0259fdar\u0131d\u0131r v\u0259 bu i\u015fd\u0259 \u00e7ox t\u0259l\u0259sk\u0259ndirl\u0259r, ona g\u00f6r\u0259 onlarda islahat, \u0259d\u0259bi eksperiment\u00e7ilik \u00e7\u0131lpaq bir m\u0259qs\u0259d\u0259 \u00e7evrilir. <…>Modernistl\u0259r \u00e7ox zaman \u0259d\u0259bi t\u0259r\u0259qqid\u0259 katalizator rolunu oynay\u0131rlar. Son n\u0259tic\u0259d\u0259 onlardan he\u00e7 bir iz qalm\u0131r. M\u0259s\u0259l\u0259n, Az\u0259rbaycanda s\u0259rb\u0259st \u015feir V.Mayakovski v\u0259 Nazim Hikm\u0259tin r\u0259smi t\u0259bli\u011finin bir \u015f\u0259kli kimi xeyli i\u015fl\u0259nmi\u015fdir. Lakin onlar\u0131n poeziya tarixind\u0259 yer tuta bil\u0259n n\u00fcmun\u0259l\u0259ri ortada yoxdur\u201d.<\/span>
Bu fikirl\u0259 q\u0259tiyy\u0259n raz\u0131la\u015fmaq olmur. \u00c7\u00fcnki s\u0259rb\u0259st \u015feir poeziya v\u0259 onun estetik t\u0259siri il\u0259 ba\u011fl\u0131 \u0259n\u0259n\u0259vi t\u0259s\u0259vv\u00fcr\u0259 uy\u011fun g\u0259lm\u0259s\u0259 d\u0259, art\u0131q \u00e7a\u011fda\u015f d\u00f6vr \u00fc\u00e7\u00fcn bu, arxada burax\u0131lm\u0131\u015f problemdir. V\u0259 R.Rzadan sonra \u018f.K\u0259rimin ad\u0131n\u0131 \u00e7\u0259km\u0259k kifay\u0259t ed\u0259r ki, onun s\u0259rb\u0259st \u015feirl\u0259ri poeziyam\u0131za \u00e7oxdan iz sal\u0131b. V\u0259 ondan sonra da F.Qoca, F.Sad\u0131q, X.R.Ulut\u00fcrk, V.S\u0259m\u0259do\u011flu, V.Bayatl\u0131 kimi m\u00fcasirl\u0259rimizin bir \u00e7ox s\u0259rb\u0259st-eksperimental \u015feirl\u0259ri var ki, bu g\u00fcn oxucunun yadda\u015f\u0131nda \u0259zb\u0259r qal\u0131r. Y\u0259ni V.Yusiflinin d\u0259 qeyd etdiyi \u201cqar\u015f\u0131 \u00e7\u0131xma\u201d art\u0131q ke\u00e7ilmi\u015f prosesdir.<\/span>
\u201cModernizm idoloji hadis\u0259 kimi \u0259n\u0259n\u0259l\u0259ri innovasiyalardan \u00fcst\u00fcn tutan, bu \u0259n\u0259n\u0259l\u0259r\u0259 mifik v\u0259 dini b\u0259ra\u0259t ver\u0259n \u0259n\u0259n\u0259vi c\u0259miyy\u0259tin ideologiyas\u0131n\u0131n \u0259leyhin\u0259dir. Modernizmin \u0259sas c\u0259h\u0259ti f\u0259rdiyy\u0259t\u00e7ilik, \u00fcsulun v\u0259 novatorlu\u011fun \u0259n\u0259n\u0259l\u0259r \u00fcz\u0259rind\u0259 \u00fcst\u00fcnl\u00fcy\u00fcd\u00fcr\u201d (10, 11). \u00c7a\u011fda\u015f poeziyada \u0259n\u0259n\u0259l\u0259r\u0259 qar\u015f\u0131 ir\u0259li s\u00fcr\u00fcl\u0259n novatorluq da, eksperimentall\u0131q da ilk n\u00f6vb\u0259d\u0259 formada, daha sonra m\u0259tnin m\u0259na sferas\u0131nda \u0259n\u0259n\u0259nin inkar\u0131nda, ifad\u0259 v\u0259 t\u0259svir fiqurlar\u0131ndak\u0131 \u0259n\u0259n\u0259d\u0259n \u201cqa\u00e7maqda\u201d, strukturda g\u00f6r\u00fcnd\u00fc.\u00a0<\/span>
B\u00fct\u00fcn t\u0259may\u00fcll\u0259r kimi, tarixi modrnizmin d\u0259 f\u0259ls\u0259fi \u0259saslar\u0131, f\u0259ls\u0259fi d\u00fc\u015f\u00fcnc\u0259 dayaqlar\u0131 m\u00f6vcuddur. \u201cS\u0259n\u0259td\u0259 modernizmin f\u0259ls\u0259fi d\u00fcnyag\u00f6r\u00fc\u015f \u0259saslar\u0131na daha \u00e7ox A.\u015eopenhauer v\u0259 F.Nit\u015fenin irrasional volyuntarist ideyalar\u0131, H.Berqsonun intuitivizmi, E.H\u00fcsserlin fenomenologiyas\u0131, Z.Freyd, K.Yunq psixoanalizi, M.Haydegger, J.P.Sartr, A.Kamyu ekzistensializmi, Frankfurt m\u0259kt\u0259binin sosial f\u0259ls\u0259f\u0259s t\u0259sir edib\u201d(10,18).\u00a0<\/span>
Az\u0259rbaycan \u015feirind\u0259 (\u00fcmum\u0259n \u0259d\u0259biyyat\u0131nda da) modernist-eksprimental yarad\u0131c\u0131l\u0131q meyll\u0259ri \u0259sas\u0259n tarixi modernizmi t\u0259krar etdiyind\u0259n, burada hans\u0131sa konkret modernist c\u0259r\u0259yandan deyil, \u00fcmumi modernist-eksperimentalizmd\u0259n dan\u0131\u015fmaq laz\u0131m g\u0259lir.\u00a0<\/span>
Forma yeniliyi etm\u0259k \u00fc\u00e7\u00fcn dig\u0259r xalqlar\u0131n \u015feir formalar\u0131ndan istifad\u0259d\u0259n, yeni formalar yaratmaq c\u0259hdl\u0259rind\u0259n, d\u00fcnya \u0259d\u0259biyyat\u0131nda art\u0131q s\u0131nanm\u0131\u015f vizual \u015feir effektl\u0259rind\u0259n tutmu\u015f, yeni ifad\u0259 v\u0259 t\u0259svir kombinasiyalar\u0131 qura\u015fd\u0131rmaq c\u0259hdin\u0259, \u201cdil oyunlar\u0131\u201dna, \u201cdur\u011fu i\u015far\u0259l\u0259rini semantik anlamda canland\u0131rma\u011fa\u201d, \u201cr\u0259ngl\u0259 s\u00f6z\u00fc birl\u0259\u015fdirm\u0259y\u0259\u201d, m\u0259tnd\u0259 dur\u011fu i\u015far\u0259l\u0259rind\u0259n imtinaya q\u0259d\u0259r f\u0259rqli yollar bu ax\u0131nda birl\u0259\u015fib. D\u00fcnyan\u0131 yenid\u0259n qurma\u011f\u0131n m\u00fcmk\u00fcnl\u00fcy\u00fcn\u0259 inam b\u0259sl\u0259y\u0259n modernistl\u0259r bu inam\u0131 \u015feir\u0259 \u00f6t\u00fcr\u00fcrd\u00fcl\u0259r. \u015e\u0259h\u0259r h\u0259yat\u0131, onun reall\u0131qlar\u0131, urbanizasiyan\u0131n insan\u0131n h\u0259yat\u0131n\u0131n v\u0259 varolmas\u0131n\u0131n \u0259h\u0259miyy\u0259tli fakt\u0131na \u00e7evrilm\u0259si, \u015feir dilind\u0259 k\u0259skin d\u00f6n\u00fc\u015fl\u0259r, insan\u0131n \u015f\u00fcuru v\u0259 alt\u015f\u00fcuru aras\u0131nda \u0259laq\u0259nin ara\u015fd\u0131r\u0131lmas\u0131, insan m\u0259n\u0259viyyat\u0131n\u0131n \u201cdibin\u0259\u201d enm\u0259l\u0259r v\u0259 s. modernizmin diqq\u0259t m\u0259rk\u0259zind\u0259 olan m\u0259sl\u0259l\u0259rdir ki, \u00e7a\u011fda\u015f poeziyan\u0131n \u201c\u00e7\u00f6k\u00fc\u015f m\u0259rh\u0259l\u0259si\u201dnd\u0259n sonra yaranan n\u00fcmun\u0259l\u0259rd\u0259 bu x\u00fcsusiyy\u0259tl\u0259r m\u00f6vcuddur. Bu m\u0259rh\u0259l\u0259ni Ya\u015far Qarayev h\u0259tta 60-c\u0131 ill\u0259r\u0259 d\u0259 apar\u0131rd\u0131: \u201c60-90-c\u0131 ill\u0259r \u0259d\u0259biyyat\u0131n\u0131n \u00f6z ruhi mahiyy\u0259ti etibaril\u0259 total rejiml\u0259 he\u00e7 vaxt bar\u0131\u015fmam\u0131\u015f, ona m\u00fcxalif olmu\u015f v\u0259 bug\u00fcnk\u00fc istiqlal v\u0259 demokratiya h\u0259r\u0259kat\u0131 \u00fc\u00e7\u00fcn ideya-m\u0259n\u0259vi z\u0259minin haz\u0131rlanmas\u0131nda f\u0259al i\u015ftirak etmi\u015fdir\u201d (6, 512)<\/span>
Az\u0259rbaycanda kapitalizmin inki\u015faf\u0131, d\u00fcny\u0259vi prosesl\u0259rin \u00f6z\u00fcn\u00fcidar\u0259 kimi d\u0259rk olunmas\u0131 ideyas\u0131 – modernizmin bir f\u0259ls\u0259fi d\u00fc\u015f\u00fcnc\u0259 t\u0259rzi t\u0259k aktualla\u015fmas\u0131 \u00fc\u00e7\u00fcn \u015f\u0259rait yaradan amill\u0259rdir. Az\u0259rbaycan\u0131n da sosial-siyasi anlamda art\u0131q kapitalist c\u0259miyy\u0259tin\u0259 \u00e7evrilm\u0259si modernist poeziyada dig\u0259r d\u0259yi\u015fiklikl\u0259rl\u0259 b\u0259rab\u0259r \u201cM\u0259n\u201di qabartm\u0131\u015f, f\u0259rdi hissl\u0259rin ifad\u0259sini \u00f6n plana ke\u00e7irmi\u015f, milli hissl\u0259rl\u0259 kocmopolit d\u00fc\u015f\u00fcnc\u0259ni qar\u015f\u0131-qar\u015f\u0131ya g\u0259tirmi\u015f, \u201cyarad\u0131c\u0131 m\u0259n\u0259m\u201d, \u201cAllah m\u0259n\u0259m\u201d ideyas\u0131n\u0131 aktualla\u015fd\u0131rm\u0131\u015f, m\u0259tn\u0259 daxil etmi\u015fdir.<\/span>
\u018flb\u0259tt\u0259 birinci dal\u011fadan sonra modern \u015feir Az\u0259rbaycan poeziyas\u0131nda ba\u015flan\u011f\u0131c olub qalmad\u0131, \u018fli K\u0259rimin, Fikr\u0259t Qocan\u0131n, Fikr\u0259t Sad\u0131\u011f\u0131n, \u0130sa \u0130smay\u0131lzad\u0259nin, \u018fl\u0259kb\u0259r Salahzad\u0259nin, Vaqif S\u0259m\u0259do\u011flunun, Ramiz R\u00f6v\u015f\u0259nin, Vaqif C\u0259bray\u0131lzad\u0259nin, Camal Yusifzad\u0259nin, Tofiq Abdinin v\u0259 dig\u0259r \u015fairl\u0259rin yarad\u0131c\u0131l\u0131\u011f\u0131nda \u00f6z\u00fcn\u00fcn yeni \u00e7alarlar\u0131yla diqq\u0259di c\u0259lb etdi. 1990-c\u0131 ill\u0259rd\u0259 is\u0259 modernizmin ikinci dal\u011fas\u0131na qovu\u015fmas\u0131 il\u0259 ba\u011fl\u0131 fikrimizin \u0259sas\u0131nda o fakt durur ki, onsuz da yarad\u0131c\u0131l\u0131\u011f\u0131nda modern d\u00fc\u015f\u00fcnc\u0259 t\u0259rzini ifad\u0259 ed\u0259n, forma v\u0259 b\u0259dii fiqur eksperimentl\u0259ri aparan F.Qoca, \u00c7.\u018flio\u011flu, T.Abdin, A.Mirseyid kimi \u015fairl\u0259r bizim t\u0259dqiq etdiyimiz d\u00f6vrd\u0259 d\u0259 \u00f6z yarad\u0131c\u0131l\u0131qlar\u0131n\u0131 davam etdirirdil\u0259r. H\u0259tta \u0259vv\u0259lki ill\u0259rd\u0259n daha art\u0131q d\u0259r\u0259c\u0259d\u0259 modernist \u015fair kimi \u00e7\u0131x\u0131\u015f edirdil\u0259r. V\u0259 bu c\u0259rg\u0259y\u0259 sonra Q.A\u011fs\u0259s, Z.\u018fz\u0259m\u0259t, Aq\u015fin, Xan\u0259mir kimi \u015fairl\u0259rin imzalar\u0131 da \u0259lav\u0259 olundu.\u00a0<\/span>
Modernizmd\u0259 d\u0259 avanqard poeziyada oldu\u011fu kimi s\u0259rb\u0259st \u015feir formas\u0131 aktuald\u0131r. \u00c7\u00fcnki bu, \u201cbilavasit\u0259 m\u0259zmunla ba\u011fl\u0131 azad, s\u0259rb\u0259st, t\u0259bii forma axtar\u0131\u015flar\u0131 s\u0259rt ritmd\u0259n s\u0259rb\u0259stlik v\u0259 normativ qafiy\u0259d\u0259n s\u0259rb\u0259stlik dem\u0259k idi. Bu ilk m\u0259rh\u0259l\u0259 ritmin v\u0259 qafiy\u0259nin \u0259n\u0259n\u0259vi dair\u0259sini geni\u015fl\u0259ndirm\u0259k, sonrak\u0131 m\u0259rh\u0259l\u0259l\u0259rd\u0259 is\u0259 v\u0259znd\u0259n v\u0259 qafiy\u0259d\u0259n tamamil\u0259 imtina etm\u0259k idi\u201d (9, 68). Modernist-eksperimental \u015feird\u0259 qafiy\u0259 v\u0259 daxili ritm qorunsa da, avabqard \u015feird\u0259 bu bir q\u0259d\u0259r z\u0259ifl\u0259yir, postmodernist \u015feird\u0259 is\u0259 \u00fcmumiyy\u0259tl\u0259 ritm v\u0259 qafiy\u0259 diqq\u0259td\u0259n k\u0259narda qal\u0131r. Bu el\u0259 bir paradiqmad\u0131r ki, sonrak\u0131 ill\u0259rd\u0259 m\u00fctl\u0259q olaraq f\u0259rqli d\u0259yi\u015fiklikl\u0259r\u0259 u\u011frayacaq. \u00c7\u00fcnki tarix\u0259n d\u0259 \u201c\u015feir formalar\u0131nda s\u0259rb\u0259stlkd\u0259n normativ – v\u0259znli \u015feir\u0259, v\u0259znli \u015feird\u0259n d\u0259 yeni m\u0259zmunlu s\u0259rb\u0259stliy\u0259 do\u011fru inki\u015faf\u0131n – bir treadan\u0131n qanunauy\u011funlu\u011funu d\u00fcnya \u015feiri t\u0259cr\u00fcb\u0259si s\u00fcbut edir. <…> s\u0259rb\u0259st \u015feir formas\u0131 art\u0131q \u0259d\u0259bi faktd\u0131r… Biz ist\u0259s\u0259k d\u0259, ist\u0259m\u0259s\u0259k d\u0259 yeni m\u0259zmun yeni formas\u0131n\u0131 yaradacaqd\u0131r\u201d (1, 154).\u00a0<\/span>
Modernist eksperimental \u015feirin \u0259n bariz n\u00fcmay\u0259nd\u0259l\u0259ri s\u0131ras\u0131nda \u00c7ingiz \u018flio\u011flunun \u015feirl\u0259rini qeyd ed\u0259 bil\u0259rik. \u018fn\u0259n\u0259vi \u015feir formalar\u0131na b\u0259z\u0259n m\u00fcraci\u0259t ets\u0259 d\u0259 (x\u00fcsusil\u0259 d\u0259 ritm qorunmas\u0131 il\u0259) o, dem\u0259k olar b\u00fct\u00fcn yarad\u0131c\u0131l\u0131\u011f\u0131 il\u0259 modernizmin estetik t\u0259l\u0259bl\u0259rin\u0259 cavab verir. M\u0259s\u0259l\u0259n,\u00a0<\/span>
\u0259ridi qar \u0259ridi<\/span>
gec\u0259y\u0259 dalan<\/span>
k\u00fc\u00e7\u0259-dalanlar<\/span>
bir da\u015f – s\u00fcm\u00fck<\/span>
bir asfalt-d\u0259ridi<\/span>
\u0259rin\u0259-\u0259rin\u0259 \u0259ridi<\/span>
d\u0259rin qalaqlar<\/span>
\u0259riy\u0259n h\u0259r buzda<\/span>
\u0259rind\u0259n gizli<\/span>
g\u00f6r\u00fc\u015f evind\u0259 don soyunan<\/span>
bir g\u00f6z\u0259lin madonna i\u015fv\u0259si var<\/span>
\u0259ridi qar \u0259ridi<\/span>
sevgisiz evd\u0259 soyunan-donan<\/span>
h\u0259r qad\u0131n \u0259r evind\u0259 q\u0259ribdi<\/span>
qaranl\u0131q qara qanad\u0131n\u0131<\/span>
l\u00fct-\u00fcryan k\u00fc\u00e7\u0259-meydan\u0131n<\/span>
\u00fcst\u0259 g\u0259ribdi…\u00a0<\/span>
Bu m\u0259qamda R.\u018fliyevin bir fikrini d\u0259 xar\u0131tlatmaq yerin\u0259 d\u00fc\u015f\u00fcr: \u201cH\u0259r ayr\u0131ca s\u0259rb\u0259st \u015feirin \u00f6z spesifik formas\u0131 vard\u0131r v\u0259 yeri g\u0259l\u0259nd\u0259 t\u0259nqid bu forman\u0131 t\u0259hlil etm\u0259lidir. Ancaq s\u0259rb\u0259st \u015feirin spesifikas\u0131n\u0131 \u0259n\u0259n\u0259vi poetikada oldu\u011fu kimi, \u015feir \u015f\u0259kill\u0259rind\u0259 ba\u015fa d\u00fc\u015fm\u0259k <…> olmaz, \u00e7\u00fcnki burada h\u0259r \u015feirin \u00f6z m\u0259zmunu il\u0259 \u015f\u0259rtl\u0259n\u0259n spesifik forma var. Bel\u0259 n\u00fcmun\u0259l\u0259rd\u0259 forman\u0131 \u00f6yr\u0259nm\u0259k, t\u0259hlil etm\u0259k geni\u015f m\u0259nada formayarad\u0131c\u0131 vasit\u0259l\u0259r ara\u015fd\u0131rmaq dem\u0259kdir\u201d (4, 18).<\/span>
Bu \u015feird\u0259 istifad\u0259 edil\u0259n formayarad\u0131c\u0131 b\u00fct\u00fcn b\u0259dii fiqurlar, t\u0259svir v\u0259 ifad\u0259 vasit\u0259l\u0259ri, obrazlar \u0259n\u0259n\u0259vi \u015feir poetikas\u0131n\u0131n da, d\u00fc\u015f\u00fcnc\u0259sinin d\u0259 dikt\u0259 etdiyind\u0259n \u00e7ox f\u0259rqlidir, \u0259n\u0259n\u0259y\u0259 ziddir, \u0259n\u0259n\u0259vi poetik z\u00f6vq\u0259 qar\u015f\u0131 da\u011f\u0131d\u0131c\u0131d\u0131r. \u201cGec\u0259y\u0259 dalan k\u00fc\u00e7\u0259-dalanlar\u201d gec\u0259 qaranl\u0131\u011f\u0131 v\u0259 onun i\u00e7\u0259risind\u0259 g\u00f6r\u00fcnm\u0259z olan k\u00fc\u00e7\u0259, dalan t\u0259svirinin v\u0259 bu qovu\u015fma t\u0259\u0259ss\u00fcrat\u0131n\u0131n yarad\u0131lmas\u0131 \u00fc\u00e7\u00fcn h\u0259m qeyri-adi, h\u0259m orijinal, eyni zamanda u\u011furlu v\u0259 g\u00f6zl\u0259nilm\u0259z t\u0259svir kombinasiyas\u0131d\u0131r. Burada \u201cdalmaq\u201d v\u0259 \u201cgec\u0259\u201d s\u00f6zl\u0259rinin \u0259n\u0259n\u0259vi poetika \u00fc\u00e7\u00fcn qeyri-adi olan assosiativ t\u0259siri bir araya g\u0259tiril\u0259r\u0259k maraql\u0131 bir n\u0259tic\u0259nin \u0259ld\u0259 olunmas\u0131na s\u0259b\u0259b olub. Yaxud \u201ck\u00fc\u00e7\u0259-dalanlar bir asfalt-s\u00fcm\u00fck, bir da\u015f-d\u0259ridi\u201d ifad\u0259si g\u00f6zl\u0259nilm\u0259z olsa da, \u0259n\u0259n\u0259vi \u015feirin \u201c\u00e7\u0131lpaq k\u00fc\u00e7\u0259\u201d kimi t\u0259qdim ed\u0259 bil\u0259c\u0259yi obyekt\u0259 f\u0259rqli rakursdan yana\u015f\u0131b. M\u0259tnd\u0259 \u201cgec\u0259y\u0259 dalan k\u00fc\u00e7\u0259\u201d, \u201c\u00e7\u0131lpaq\u201d assosiasiyas\u0131na hesablanm\u0131\u015f \u201cbir asfalt-s\u00fcm\u00fck bir da\u015f-d\u0259ri\u201d ifad\u0259si d\u0259 t\u0259s\u0259vv\u00fcr\u00fc \u0259sas obraza – \u201c\u0259rind\u0259n gizli g\u00f6r\u00fc\u015f evind\u0259 don soyunan bir g\u00f6z\u0259lin\u201d obraz\u0131na do\u011fru \u201cs\u00fcr\u00fc\u015fd\u00fcr\u00fcr\u201d. \u201c\u018friy\u0259n qar\u0131n\u201d v\u0259 \u201ct\u0259nha k\u00fc\u00e7\u0259nin\u201d soyu\u011fu is\u0259 \u201dsevgisiz evd\u0259 soyunan-donan h\u0259r qad\u0131n \u0259r evind\u0259 q\u0259ribdi\u201d ifad\u0259sinin t\u0259\u0259ss\u00fcrat\u0131n\u0131 tamamlam\u0131\u015f olur. G\u00f6zl\u0259nilm\u0259zlik, f\u0259rqli \u015f\u0259kill\u0259rd\u0259n istifad\u0259 ed\u0259r\u0259k \u0259n\u0259n\u0259vi d\u00fc\u015f\u00fcnc\u0259y\u0259 v\u0259 estetik t\u0259l\u0259bl\u0259r\u0259 z\u0259rb\u0259 vurmaq modernizmin ana x\u0259ttini t\u0259\u015fkil edir.\u00a0<\/span>
\u00c7ingiz \u018flio\u011flunun ba\u015fqa bir \u015feirind\u0259 d\u0259 eyni effekt m\u00fc\u015fahid\u0259 edilir: \u201c\u00e7\u0131x\u0131b\u201d, \u201c\u00e7\u0131lpaq\u201d, \u201c\u00e7\u0131rp\u0131b\u201d, \u201c\u00e7\u0131r-\u00e7\u0131rp\u0131\u201d s\u00f6zl\u0259ri effekti d\u0259rinl\u0259\u015fdirir.<\/span>
Bu axan sulara yuxu s\u00f6yl\u0259m\u0259k<\/span>
A\u011farm\u0131\u015f kinolent a\u015fkarlamaqd\u0131r<\/span>
Neqativ yuxular b\u0259yaz sularda<\/span>
Guya reall\u0131qla qovu\u015facaqm\u0131\u015f…<\/span>
S\u0259nsiz yuxular\u0131m s\u0259nsiz donunt\u0259k<\/span>
b\u00fcz\u00fc\u015f\u00fcb g\u00f6z\u00fcmd\u0259 qal\u0131bd\u0131r indi<\/span>
\u00e7\u0131x\u0131b yuxulardan \u00e7\u0131lpaq qa\u00e7m\u0131san<\/span>
\u00e7\u0131rp\u0131b \u00e7\u00f6l-bay\u0131rda \u00e7\u0131r-\u00e7\u0131rp\u0131 s\u0259ni<\/span>
o \u015f\u0259kli d\u0259yi\u015f\u0259n adamlar kimi<\/span>
\u00fcz\u00fcn neyl\u0259yir\u0259m yad\u0131ma d\u00fc\u015fm\u00fcr<\/span>
\u00fcz\u00fcr bir \u00e7imirim \u00e7imir sularda<\/span>
\u0259n ki\u00e7ik kadrd\u0131r \u0259n q\u0131sa yuxum<\/span>
o dal\u011f\u0131n yuxunu bulan\u0131q suda<\/span>
n\u0259 q\u0259d\u0259r \u00e7alxay\u0131b yaxalasam da<\/span>
xatir\u0259-t\u0259l\u0259d\u0259n yaxa qurtarm\u0131\u015f<\/span>
x\u0259yal\u0131n g\u00f6z\u00fcm\u0259 g\u00f6r\u00fcnm\u00fcr yen\u0259….\u00a0<\/span>
R. \u018fliyev yaz\u0131r: \u201c\u015eairl\u0259rimiz s\u0259rb\u0259std\u0259 yazanda da heca v\u0259zninin b\u00fct\u00fcn formayarad\u0131c\u0131 \u00fcns\u00fcrl\u0259rind\u0259n… istifad\u0259 edirl\u0259r. Burada ayr\u0131-ayr\u0131 misralar\u0131 qafiy\u0259l\u0259ndirm\u0259kd\u0259n, t\u0259qtil\u0259ndirm\u0259kd\u0259n, b\u00fct\u00fcn n\u00f6vl\u0259rd\u0259 olan poetik obrazlar yaratmaqdan tutmu\u015f natiqlik \u00fcsullar\u0131na, assosiasiyalara, paradokslara, meditasiyaya, t\u0259zadlara q\u0259d\u0259r istifad\u0259 edilir… S\u0259rb\u0259st \u015feir \u00f6z mahiyy\u0259ti etibaril\u0259 poeziyan\u0131n obrazlar, b\u0259dii vasit\u0259l\u0259r sistemini r\u0259dd etmir, \u0259ksin\u0259, b\u00fct\u00fcn ifad\u0259 vasit\u0259l\u0259rind\u0259n m\u0259hdudiyy\u0259tsiz istifad\u0259 etm\u0259y\u0259 k\u00f6m\u0259k g\u00f6st\u0259rir, h\u0259m d\u0259 bu istifad\u0259y\u0259 mane olan q\u0259libl\u0259ri aradan qald\u0131r\u0131r\u201d (4. 18, 19). Bu, \u015feird\u0259 d\u0259 bel\u0259dir. B\u0259dii vasit\u0259 yarad\u0131c\u0131l\u0131\u011f\u0131ndan, poetik obraz yarad\u0131c\u0131l\u0131\u011f\u0131ndan q\u0259tiyy\u0259n imtina edilm\u0259yib. Sad\u0259c\u0259 v\u0259znli – \u0259n\u0259n\u0259vi \u015feird\u0259n f\u0259rqli olaraq ifad\u0259nin vasit\u0259si f\u0259rqli se\u00e7ilib. \u018fn\u0259n\u0259vi poetik t\u0259f\u0259kk\u00fcr\u00fcn q\u0259bul ed\u0259 bilm\u0259y\u0259c\u0259yi vasit\u0259l\u0259rl\u0259 poetik sistem qurulub.<\/span>
\u00c7a\u011fda\u015f Az\u0259rbaycan \u015feirind\u0259 80-ci 90-c\u0131 ill\u0259rd\u0259n ba\u015flayaraq yarad\u0131c\u0131l\u0131\u011f\u0131nda modernist \u0259hval-ruhiyy\u0259ni, eksperimentall\u0131\u011f\u0131, inkar\u0131 ifad\u0259 ed\u0259n \u015fairl\u0259rd\u0259n biri Adil Mirseyiddir. A.Mirseyid r\u0259ngl\u0259 s\u00f6z effektini, ekspressiyan\u0131 \u00f6z yarad\u0131c\u0131l\u0131\u011f\u0131nda birl\u0259\u015fdirib. Q\u0259rb h\u0259yat\u0131n\u0131n estetikas\u0131n\u0131, inc\u0259s\u0259n\u0259tinin auras\u0131n\u0131, ruhunu, poetik ovqat\u0131n\u0131 da bura \u0259lav\u0259 ets\u0259k, t\u0259xmini olaraq fikrimiz ayd\u0131nla\u015far.\u00a0<\/span>
d\u00f6rd m\u00f6vs\u00fcm d\u00f6rd durna l\u0259l\u0259yidi<\/span>
d\u00f6rd m\u00f6vs\u00fcm d\u00f6rd sevda \u00e7i\u00e7\u0259yidi<\/span>
hans\u0131 l\u0259l\u0259yi g\u00f6t\u00fcrs\u0259n yen\u0259<\/span>
yen\u0259 d\u0259 qism\u0259tin q\u00fcrb\u0259tdi k\u00f6n\u00fcl<\/span>
hans\u0131 \u00e7i\u00e7\u0259yi d\u0259rib qoxlasan<\/span>
ayr\u0131l\u0131qd\u0131 ayr\u0131l\u0131qd\u0131 n\u0259sibin<\/span>
d\u00f6rd m\u00f6vs\u00fcm d\u00f6rd p\u0259nc\u0259r\u0259<\/span>
hans\u0131 p\u0259nc\u0259r\u0259d\u0259n bax\u0131rsansa bax<\/span>
p\u0259nc\u0259r\u0259nin alt\u0131nda ulay\u0131r bir yalquzaq<\/span>
ruhum u\u00e7ub b\u0259d\u0259nimd\u0259n<\/span>
be\u015finci m\u00f6vs\u00fcmd\u0259 ya\u015fay\u0131ram m\u0259n.\u00a0<\/span>
Poetik q\u0259hr\u0259man\u0131n ovqat\u0131 da, ruh hal\u0131 da t\u0259bi\u0259tl\u0259, onun \u00e7alarlar\u0131 il\u0259 m\u0259n\u0259vi duy\u011fular\u0131n birl\u0259\u015fm\u0259sind\u0259, bir araya g\u0259tirilm\u0259sind\u0259 ifad\u0259 olunur. \u00dcmumiyy\u0259tl\u0259, insan\u0131n \u00f6z d\u00fcnyas\u0131nda bel\u0259 q\u00fcrb\u0259td\u0259 olmas\u0131 kimi \u0259n intim, \u0259n d\u0259rin duy\u011fular\u0131n t\u0259hlili modernist \u015feir \u00fc\u00e7\u00fcn aktuald\u0131r. Modernist q\u0259hr\u0259man bu d\u00fcnyadan da, reall\u0131qdan da, o reall\u0131\u011f\u0131n \u201cp\u0259nc\u0259r\u0259si alt\u0131nda ulayan yalquzaq\u201cdan da uzaqla\u015faraq hans\u0131sa ba\u015fqa bir m\u0259kanda, zamanda \u00f6z ruhunu sakitl\u0259\u015fdirir. \u0130nkar burada reall\u0131\u011fa, h\u0259m d\u0259 t\u0259bi\u0259tin reall\u0131\u011f\u0131na qar\u015f\u0131 y\u00f6n\u0259lib. \u201cBe\u015finci m\u00f6vs\u00fcm\u201d is\u0259, arzulanan h\u0259min o reall\u0131q kimi t\u0259qdim olunur. Bundan ba\u015fqa, \u201cd\u00f6rd durna l\u0259l\u0259yi\u201d d\u0259, \u201cd\u00f6rd sevda \u00e7i\u00e7\u0259yi\u201d d\u0259 \u0259slind\u0259, \u0259n\u0259n\u0259vi \u015feir \u00fc\u00e7\u00fcn aktual olan b\u0259dii obrazlard\u0131r. Sad\u0259c\u0259, \u0259n\u0259n\u0259vi \u015feird\u0259 \u201cdurna l\u0259l\u0259yi\u201dni yand\u0131rmaq, \u201csevda \u00e7i\u00e7\u0259yi\u201dni qoxlamaq qovu\u015fdurmaq, arzunu realla\u015fd\u0131rmaq funksiyas\u0131 da\u015f\u0131d\u0131\u011f\u0131 halda, burada \u0259ksin\u0259, poetik q\u0259hr\u0259mana \u201cayr\u0131l\u0131qd\u0131 n\u0259sibin\u201d ismar\u0131c\u0131 verir. Y\u0259ni \u0259n\u0259n\u0259vi obraza yeni keyfiyy\u0259t qazand\u0131r\u0131l\u0131r. Adil Mirseyidin ba\u015fqa bir \u015feirind\u0259 deyilir:<\/span>
Parisd\u0259 k\u00f6rp\u00fc alt\u0131nda\u00a0<\/span>
oturmu\u015fam bu gec\u0259<\/span>
sena \u00e7ay\u0131 t\u0259z\u0259c\u0259 \u0259ridilmi\u015f<\/span>
qur\u011fu\u015fun kim ax\u0131r<\/span>
bu g\u00fcn parisd\u0259 talesiz bir t\u00fcrk \u015fairi olmaq<\/span>
\u00e7ox zor \u00e7ox a\u011f\u0131r<\/span>
m\u00fcsy\u00f6 adil deyir m\u0259n\u0259 parisin s\u0259fill\u0259ri<\/span>
g\u00f6y\u00fcz\u00fcn\u0259 bax\u0131ram<\/span>
g\u00f6y\u00fcz\u00fcnd\u0259 bodlerin g\u00fcll\u0259ri…<\/span>
…b\u0259lk\u0259 m\u0259n d\u0259 qogen kimi<\/span>
bir g\u0259miy\u0259 bilet al\u0131b<\/span>
paris\u0259 orvuar deyim<\/span>
b\u0259lk\u0259 t\u0259z\u0259c\u0259 \u0259ridilmi\u015f qur\u011fu\u015fun kimi axan<\/span>
senada bo\u011fum \u00f6z\u00fcm\u00fc<\/span>
b\u0259lk\u0259 \u00f6l\u00fcm m\u0259l\u0259yinin qap\u0131s\u0131n\u0131 d\u00f6y\u00fcm<\/span>
cibimd\u0259 telefon n\u00f6mr\u0259si ev \u00fcnvan\u0131<\/span>
senaya bax\u0131r p\u0259nc\u0259r\u0259si eyvan\u0131<\/span>
parisd\u0259 bir k\u00f6rp\u00fc alt\u0131nda oturmu\u015fam<\/span>
u\u011fursuz bir gec\u0259di<\/span>
dostum bak\u0131da f\u0259vvar\u0259l\u0259r ba\u011f\u0131nda hava nec\u0259di<\/span>
p.s. b\u0259lk\u0259 bu g\u00fcn m\u00fcharib elan edim paris\u0259<\/span>
Ba\u015fdan-ba\u015fa ekspressiv ifad\u0259 olan bu m\u0259tnd\u0259 ilk yadda\u015fa hopan \u201ct\u0259z\u0259c\u0259 \u0259ridilmi\u015f qur\u011fu\u015fun kimi axan\u201d Sena \u00e7ay\u0131 il\u0259 H\u00fcqonun \u201cs\u0259fill\u0259ri\u201d, bir d\u0259 \u015fairin t\u0259nhal\u0131\u011f\u0131na v\u0259 m\u0259n\u0259vi b\u00f6hran\u0131na b\u0259z\u0259k vuran \u201cg\u00f6y \u00fcz\u00fcnd\u0259 bodlerin g\u00fcll\u0259ri\u201ddir. \u0130ntihar fikri d\u0259, bu intiharla \u201cParis\u0259 m\u00fcharib\u0259 elan etm\u0259k\u201d d\u00fc\u015f\u00fcnc\u0259si d\u0259, bu a\u011f\u0131r an\u0131n \u00f6z\u00fcnd\u0259 bel\u0259 yada d\u00fc\u015f\u0259n \u201cf\u0259vvar\u0259l\u0259r ba\u011f\u0131\u201d da h\u0259min ekspressiv ifad\u0259liliyin bir q\u0259d\u0259r d\u0259 g\u00fccl\u0259ndirilm\u0259sin\u0259 xidm\u0259t edir.\u00a0<\/span>
Tehran \u018fli\u015fano\u011flu yaz\u0131r: \u201cAdil Mirseyid imzas\u0131n\u0131n yeri ad\u0259t\u0259n Vaqif S\u0259m\u0259do\u011flu, Ramiz R\u00f6v\u015f\u0259n, Vaqif Bayatl\u0131dan bel\u0259sin\u0259 g\u0259lib h\u0259min modernistik s\u0131ran\u0131 tamamlay\u0131r. Burda \u015fairin m\u00f6vqeyi m\u00f6hk\u0259mdir d\u0259; s\u00f6z s\u0259n\u0259tinin t\u0259sviri s\u0259n\u0259t\u0259 girib, \u00fcsul-f\u0259nd-vasit\u0259l\u0259rind\u0259n maksimum b\u0259hr\u0259l\u0259nm\u0259si, az qala h\u0259tta onu istismar\u0131 XX \u0259sr q\u0259d\u0259r b\u0259lk\u0259 he\u00e7 bir \u0259yyamlarda olmam\u0131\u015fd\u0131r; ki, Adil Mirseyidi d\u0259 milli modernizmin y\u00fck\u00fcn\u00fc h\u0259r biri bir \u00f6zg\u0259 c\u00fcr \u00e7\u0259k\u0259n (h\u0259minc\u0259) \u015fairl\u0259rimiz aras\u0131nda ay\u0131ran, f\u0259rqli-se\u00e7imli ed\u0259n m\u0259hz budur. \u2026\u201d(5).\u00a0<\/span>
H\u0259qiq\u0259t\u0259n d\u0259 \u00e7a\u011fda\u015f modernist \u015feir dedikd\u0259 yada d\u00fc\u015f\u0259n bir ne\u00e7\u0259 m\u00fc\u0259llif aras\u0131nda Adil Mirseyidin ad\u0131 ilk yerd\u0259dir. V\u0259 onun \u015feirl\u0259rind\u0259 avanqard poeziyan\u0131n aqressiyas\u0131 da, epataj x\u00fcsusiyy\u0259ti d\u0259 daha t\u0259mkinli, daha \u201cakademik\u201d m\u00fcst\u0259viy\u0259 adlay\u0131r.\u00a0<\/span>
Modernizm m\u00f6vcud oldu\u011fu zaman daxilind\u0259 \u00f6z reall\u0131\u011f\u0131n\u0131 modell\u0259\u015fdirm\u0259y\u0259 can at\u0131r. Bu \u015fairl\u0259rin h\u0259r birinin \u00f6z reall\u0131\u011f\u0131, \u00f6z d\u00fcnyas\u0131, bu d\u00fcnyan\u0131n ac\u0131 reall\u0131qlar\u0131na adekvat olaraq modell\u0259\u015fdirilmi\u015f al\u0259ml\u0259ri var. M\u0259s\u0259l\u0259n, V.B.Od\u0259r yaz\u0131r:<\/span>
D\u00fcnyan\u0131n \u0259n g\u00fccl\u00fc adam\u0131<\/span>
Olmaq da ist\u0259mir\u0259m<\/span>
Ola da bilm\u0259r\u0259m<\/span>
\u0130st\u0259mir\u0259m bir kims\u0259<\/span>
M\u0259niml\u0259 qorxuda bir kims\u0259ni<\/span>
D\u00fcnyan\u0131n \u0259n varl\u0131 adam\u0131<\/span>
Olmaq da ist\u0259mir\u0259m\u00a0<\/span>
Ola da bilm\u0259r\u0259m<\/span>
M\u0259n\u0259 \u0259n b\u00f6y\u00fck d\u00fcnya var\u0131<\/span>
Qap\u0131-p\u0259nc\u0259r\u0259si a\u00e7\u0131q<\/span>
\u00dcz\u00fc-g\u00f6z\u00fc g\u00fcl\u0259n bir ala\u00e7\u0131q.<\/span>
M\u0259n s\u0259ni, m\u0259n s\u0259ni<\/span>
D\u00fcnyada ham\u0131dan \u00e7ox<\/span>
Sev\u0259 d\u0259 bilm\u0259r\u0259m, sevm\u0259k d\u0259 ist\u0259mir\u0259m<\/span>
\u00c7\u00fcnki ancaq yalandan sev\u0259nl\u0259r<\/span>
Ham\u0131dan \u00e7ox sev\u0259nl\u0259r<\/span>
M\u0259n s\u0259ni sakitc\u0259, yava\u015fca<\/span>
Sevm\u0259k ist\u0259yir\u0259m<\/span>
Sevm\u0259k ist\u0259yir\u0259m tanr\u0131dan yaz\u0131lant\u0259k<\/span>
Bir balaca qu\u015fcu\u011faz<\/span>
\u00d6z balaca yuvas\u0131n\u0131n<\/span>
K\u00fcnc\u00fcn\u0259 q\u0131s\u0131lant\u0259k\u00a0<\/span>
Adi insani arzular, g\u00fcc, q\u00fcvv\u0259 sahibi olmaq ist\u0259yi \u015feird\u0259 he\u00e7\u0259 endirilir. Poetik q\u0259hr\u0259man \u201cham\u0131dan \u00e7ox sev\u0259n\u201d, \u201cham\u0131dan g\u00fccl\u00fc sev\u0259n\u201d \u0259n\u0259n\u0259vi q\u0259hr\u0259mandan da f\u0259rql\u0259nir. \u018fn\u0259n\u0259vi \u015feir \u00fc\u00e7\u00fcn aktuall\u0131q k\u0259sb ed\u0259n \u201csevgi namin\u0259 \u00f6lm\u0259k\u201d d\u0259, \u201cvuru\u015fmaq\u201d da, laz\u0131m g\u0259ls\u0259 \u201c\u00f6ld\u00fcrm\u0259k\u201d d\u0259 modern q\u0259hr\u0259man \u00fc\u00e7\u00fcn yad anlay\u0131\u015flard\u0131r. \u00c7\u00fcnki onun sevgisi \u201cyuvas\u0131n\u0131n k\u00fcnc\u00fcn\u0259 q\u0131s\u0131lm\u0131\u015f qu\u015fun\u201d sevgisi q\u0259d\u0259r balaca v\u0259 s\u0131radand\u0131r, amma bir o q\u0259d\u0259r d\u0259 i\u00e7d\u0259n, t\u0259bii v\u0259 s\u0259mimidir. Bir o q\u0259d\u0259r d\u0259 g\u00fccl\u00fcd\u00fcr. \u00c7\u00fcnki onun \u00fc\u00e7\u00fcn \u201cQap\u0131-p\u0259nc\u0259r\u0259si a\u00e7\u0131q \/ \u00dcz\u00fc-g\u00f6z\u00fc g\u00fcl\u0259n bir ala\u00e7\u0131q\u201d modernist \u015feirin yaratd\u0131\u011f\u0131 modern reall\u0131q kimi \u00e7\u0131x\u0131\u015f edir. \u0130lk bax\u0131\u015fdan bu \u201cala\u00e7\u0131q\u201d romantik q\u0259hr\u0259man\u0131n \u201cqay\u0131d\u0131\u015f\u201d konsepsiyas\u0131n\u0131 xat\u0131rlad\u0131r. Amma romantik q\u0259hr\u0259man sevgisi \u00fc\u00e7\u00fcn \u00f6l\u0259 d\u0259 bil\u0259r, \u00f6ld\u00fcr\u0259 d\u0259. O \u201cyuva k\u00fcnc\u00fcn\u0259\u201d s\u0131\u011f\u0131nacaq q\u0259d\u0259r z\u0259if ola bilm\u0259z. O s\u0259b\u0259bd\u0259n d\u0259 \u201c\u00fcz\u00fc g\u00f6z\u00fc g\u00fcl\u0259n ala\u015f\u0131q\u201d qa\u00e7\u0131\u015f obyektin\u0259 \u00e7evrilir. D\u00fcnyan\u0131n reall\u0131\u011f\u0131ndan gizl\u0259nm\u0259k \u00fc\u00e7\u00fcn \u201ck\u00f6\u015f\u0259\u201d olur. Bu f\u0259rdi d\u00fcnya f\u0259rdi hissl\u0259rin \u0259n y\u00fcks\u0259k m\u0259rt\u0259b\u0259sidir.\u00a0<\/span>
Modernizmin bu m\u0259rh\u0259l\u0259si haqq\u0131nda yazan t\u0259dqiqat\u00e7\u0131 Vaqif Yusifli \u0259sas\u0259n iki istiqam\u0259tli \u015feirl\u0259ri modernist \u015feir n\u00fcmun\u0259l\u0259ri kimi t\u0259hlil edir: \u201c1. \u0130nsan, D\u00fcnya v\u0259 Kainat haqq\u0131nda mistik-f\u0259ls\u0259fi d\u00fc\u015f\u00fcnc\u0259l\u0259ri \u0259ks etdir\u0259n \u015feirl\u0259r (Xan\u0259mir, Zahid Sar\u0131torpaq), 2. H\u0259yat, \u00f6l\u00fcm, varl\u0131q-yoxluq, d\u00fcnyan\u0131n g\u0259rdi\u015fi, insan\u0131n t\u0259bi\u0259tl\u0259, ya\u015fad\u0131\u011f\u0131 yurd, v\u0259t\u0259n bar\u0259d\u0259 d\u00fc\u015f\u00fcnc\u0259l\u0259rini \u0259ks etdir\u0259n \u015feirl\u0259r (Nizami Ayd\u0131n)\u201d. (11, 362-381). O modernist \u015feir t\u0259may\u00fcll\u0259rinin \u0259n orijinal v\u0259 maraql\u0131 ifad\u0259si kimi \u201c\u015feir konstruksiyas\u0131\u201d hadis\u0259sind\u0259n s\u00f6z a\u00e7araq (11, 362-381) Salam\u0131n yarad\u0131c\u0131l\u0131\u011f\u0131n\u0131 modernist \u015feir kimi t\u0259hlil edir. \u018flb\u0259tt\u0259, Salam\u0131n yarad\u0131c\u0131l\u0131\u011f\u0131 eksperimentl\u0259rl\u0259 z\u0259ngindir. Amma bunlar daha \u00e7ox \u0259n\u0259n\u0259vi forma daxilind\u0259 edil\u0259n eksperimentl\u0259rdir. V\u0259 n\u0259 \u0259n\u0259n\u0259ni inkar, n\u0259 d\u0259 m\u0259zmun qat\u0131nda \u0259n\u0259n\u0259nin dekonstruksiyas\u0131 \u015f\u0259klind\u0259 meydana \u00e7\u0131xm\u0131r.\u00a0<\/span>
Dekonstruksiya anlay\u0131\u015f\u0131 daha \u00e7ox postmodernizm\u0259 aid anlay\u0131\u015f olsa da, o modernizm \u00fc\u00e7\u00fcn d\u0259 i\u015fl\u0259kdir. Sad\u0259c\u0259, modernizmd\u0259 dekonstruksiya m\u0259zmun qat\u0131nda apar\u0131l\u0131r, \u0259n\u0259n\u0259d\u0259n do\u011fan anlay\u0131\u015flara, inamlara, d\u00fc\u015f\u00fcnc\u0259l\u0259r\u0259 qar\u015f\u0131 alternativ variant ir\u0259li s\u00fcr\u00fcl\u00fcr, postmodernizmd\u0259 is\u0259 bu, m\u0259zmundan daha \u00e7ox strukturda ba\u015f verir. \u018fvv\u0259lc\u0259d\u0259n m\u00f6vcud olan struktur g\u00f6t\u00fcr\u00fcl\u0259r\u0259k onun da\u011f\u0131d\u0131lmas\u0131 il\u0259 m\u0259zmunun da\u011f\u0131d\u0131lmas\u0131na nail olunur. V\u0259 burada f\u0259rql\u0259ndirici x\u00fcsusiyy\u0259t m\u0259zmuna v\u0259 struktura qar\u015f\u0131 y\u00f6n\u0259l\u0259n postmodern ironiyad\u0131r.\u00a0<\/span>
V.Yusifli \u00f6z\u00fc d\u0259 sonrakl fikirl\u0259rind\u0259 bu m\u00fcdd\u0259an\u0131 t\u0259dsiq edir: \u201cmodernist t\u0259may\u00fcll\u00fc poeziyan\u0131n forma qat\u0131nda inkar motivi bir ne\u00e7\u0259 istiqam\u0259td\u0259 diqq\u0259ti c\u0259lb edir. Birincisi, modernist \u015fairl\u0259rin \u00e7oxu h\u0259r c\u00fcr \u0259n\u0259n\u0259vi \u015feir formalar\u0131ndan imtina edirl\u0259r, qo\u015fma, g\u0259rayl\u0131, yaxud heca \u015feirinin m\u00fcxt\u0259lif formalar\u0131 onlar\u0131 t\u0259min etmir. Onlar s\u0259rb\u0259sr \u015feir m\u0259kan\u0131nda \u00f6zl\u0259rini daha rahat hiss edirl\u0259r. S\u0259rb\u0259st \u015feiri d\u0259 onlar tamamil\u0259 \u201cm\u00fcasirl\u0259\u015fdirirl\u0259r\u201d. Bel\u0259 ki, s\u0259rb\u0259st \u015feir\u0259 d\u0259 xas olan poetexniki elementl\u0259rd\u0259n (qafiy\u0259 v\u0259 s.) imtina edir, \u015feiri \u00e7ox zaman daxili ritm \u00fcz\u0259rind\u0259 qururlar\u201d. (11, 372). Salam yarad\u0131c\u0131l\u0131\u011f\u0131nda is\u0259 dem\u0259k olar b\u00fct\u00fcn eksprimentl\u0259r heca daxilind\u0259 apar\u0131l\u0131b. H\u0259tta \u201cq\u0259z\u0259l ritmi\u201d (C.Yusifli) bel\u0259, hecan\u0131n daxilind\u0259 oyad\u0131l\u0131b. S\u0259rb\u0259st forman\u0131n aktuall\u0131\u011f\u0131 is\u0259, daha sonrak\u0131 d\u00f6vr – 2000-ci ill\u0259rin ortalar\u0131 v\u0259 sonlar\u0131nda Salam yarad\u0131c\u0131l\u0131\u011f\u0131nda nisb\u0259t\u0259n aktualla\u015fa bilib.\u00a0<\/span>
V.Yusiflinin \u201cAq\u015finin bir \u00e7ox \u015feirl\u0259ri hecada yaz\u0131l\u0131b, poetik tap\u0131nt\u0131larla z\u0259ngin olan bu \u015feirl\u0259rd\u0259 modernist t\u0259f\u0259kk\u00fcr hissl\u0259r, emosiyalar, t\u0259\u0259ss\u00fcratlar ax\u0131n\u0131na qo\u015fulur, \u0259sas diqq\u0259ti maraql\u0131 t\u0259svir v\u0259 t\u0259svir vasit\u0259l\u0259rind\u0259n istifad\u0259 etm\u0259kl\u0259 q\u0259fil v\u0259 g\u00f6zl\u0259nilm\u0259z situasiyalar yaratma\u011fa y\u00f6n\u0259ldir\u201d (11, 372). – fikri il\u0259 d\u0259 raz\u0131la\u015fm\u0131r\u0131q. Bu d\u0259y\u0259rl\u0259ndirm\u0259 il\u0259 ba\u011fl\u0131 onu qeyd etm\u0259k ist\u0259rdik ki, Aq\u015finin yarad\u0131c\u0131l\u0131\u011f\u0131nda s\u0259rb\u0259st forma daha \u00fcst\u00fcnl\u00fck t\u0259\u015fkil edir, n\u0259inki qafiy\u0259li \u015feir. Sad\u0259c\u0259, s\u0259rb\u0259st \u015feird\u0259, m\u0259s\u0259l\u0259n, postmodernistl\u0259r kimi qafiy\u0259 sistemsizliyi yarad\u0131lm\u0131r, \u0259ksin\u0259, qafiy\u0259l\u0259nm\u0259y\u0259 veril\u0259n \u00f6n\u0259m \u00fczd\u0259dir.<\/span>
Borevin \u201cTarixin gedi\u015fat\u0131n\u0131n s\u00fcr\u0259tl\u0259nm\u0259si v\u0259 onun insana t\u0259zyiqinin artmas\u0131\u201dn\u0131 fad\u0259 ed\u0259n konsepsiyalar\u0131 birl\u0259\u015fdir\u0259n epoxa\u201d (12) kimi d\u0259y\u0259rl\u0259ndirdiyi modernizm \u201ct\u0259kc\u0259 realizml\u0259 r\u0259qab\u0259td\u0259 olan v\u0259 ona qar\u015f\u0131 duran s\u0259n\u0259t deyil. Modernistl\u0259rin b\u0259dii konsepsiyas\u0131nda \u00f6z\u00fcn\u0259m\u0259xsus b\u0259dii t\u0259hkiy\u0259, f\u0259rdiyy\u0259t\u00e7iliyin orijinal t\u0259qdimat\u0131, \u015f\u00fcur ax\u0131n\u0131, b\u0259z\u0259n m\u0259zmunun formaya qurban verilm\u0259si durur. <…> modernistl\u0259r \u00fcmum\u0259n zamana deyil, hadis\u0259y\u0259 deyil, m\u0259qama, t\u0259f\u0259rr\u00fcata deyil, detala \u00fcst\u00fcnl\u00fck verirl\u0259r\u201d (7,48)<\/span>
Bundan ba\u015fqa onlar sosial probleml\u0259ri arxa plana ataraq m\u0259n\u0259viyyat, psixologiya, psixoloji ruh hallar\u0131n\u0131, \u015f\u00fcur v\u0259 t\u0259ht\u0259l\u015f\u00fcur aras\u0131nda \u0259laq\u0259ni d\u0259 \u0259ks etdirirl\u0259r. \u00d6z\u00fcn\u00fcn b\u00fct\u00fcn h\u0259yacanlar\u0131 v\u0259 ya\u015fant\u0131lar\u0131 il\u0259 b\u00fct\u00f6vl\u00fck t\u0259\u015fkil ed\u0259n modernist q\u0259hr\u0259man bu \u015feirl\u0259rin \u0259sas personaj\u0131d\u0131r. O se\u00e7ilmi\u015f deyil, adidir, he\u00e7 bir sosial status da\u015f\u0131m\u0131r (m\u0259s\u0259l\u0259n, sovet d\u00f6vr\u00fc poeziyas\u0131nda oldu\u011fu kimi). Amma onun \u201cm\u0259n\u201di g\u00fccl\u00fcd\u00fcr. F\u0259rdi hissl\u0259ri \u0259trafdan da, d\u00fcnyadan da daha \u00f6n\u0259mlidir. Modernizmd\u0259 \u0259n\u0259n\u0259vi \u015feird\u0259 toxunulmayan v\u0259 ya az toxunulan sferalara da \u0259l uzad\u0131l\u0131r. Amma bu, tutaq ki, avanqard s\u0259n\u0259td\u0259 edildiyi kimi \u00e7\u0131\u011f\u0131rt\u0131 v\u0259 epatajla, yaxud postmodernizmd\u0259 edildiyi kimi kinay\u0259 v\u0259 ironiya il\u0259 deyil, daha t\u0259mkinli inkar formas\u0131 il\u0259 \u0259ld\u0259 olunur. M\u0259s\u0259l\u0259n, Tanr\u0131 m\u00f6vzusunda inkar hissi, qar\u015f\u0131durma statusun b\u0259rab\u0259rl\u0259\u015fdirilm\u0259si kimi meydana \u00e7\u0131x\u0131r.<\/span>
T\u0259nhayam yen\u0259,<\/span>
T\u0259nhayam \u00e7ar\u0259siz d\u0259rd kimi<\/span>
T\u0259z\u0259c\u0259 basd\u0131r\u0131lm\u0131\u015f meyid kimi<\/span>
T\u0259nhayam Tanr\u0131 kimi<\/span>
T\u0259z\u0259 do\u011fulmu\u015f bir k\u00f6rp\u0259nin<\/span>
Q\u0259fil dil a\u00e7\u0131b<\/span>
\u201c\u00d6l\u00fcr\u0259m\u201d dem\u0259yin\u0259<\/span>
B\u0259nz\u0259yir\u0259m bu g\u00fcn<\/span>
B\u00fct\u00fcn da\u011flar\u0131n, da\u015flar\u0131n<\/span>
A\u011faclar\u0131n qu\u015flar\u0131n \u015f\u0259klin\u0259 sald\u0131n<\/span>
Daha n\u0259y\u0259 b\u0259nz\u0259d\u0259c\u0259ks\u0259n tanr\u0131m m\u0259ni?<\/span>
M\u0259ni ka\u011f\u0131z kimi,<\/span>
M\u0259ni \u015feir kimi<\/span>
M\u0259ni m\u0259ktub kimi yaz\u0131rsan tanr\u0131m<\/span>
M\u0259nd\u0259n q\u0259mli m\u0259ktub yoxdu bu d\u00fcnyada<\/span>
Kim\u0259 yaz\u0131rsan d\u0259rdini, \u0130lahi?<\/span>
Kimdir s\u0259n\u0259 \u00e7ar\u0259 q\u0131la bil\u0259c\u0259k?<\/span>
S\u0259nd\u0259n m\u0259ktub g\u00f6zl\u0259y\u0259n kimdi ax\u0131?<\/span>
Bilir\u0259m, k\u00f6hn\u0259nin insafs\u0131z\u0131san<\/span>
\u0259n d\u0259rdli, \u0259n \u00e7ar\u0259siz adama yaz\u0131rsan d\u0259rdini<\/span>
m\u0259ktubunu al\u0131nca<\/span>
ya d\u0259li olacaq, \u00f6z\u00fcn\u00fc \u00f6ld\u00fcr\u0259c\u0259k o<\/span>
ya da m\u0259ktubunu oxuyan kimi<\/span>
unudacaq \u00f6z d\u0259rdini<\/span>
\u00f6z\u00fcn\u00fc allah\u0131n allah\u0131 sanacaq.<\/span>
\u0130nsani t\u0259nhal\u0131qla Tanr\u0131 t\u0259nhal\u0131\u011f\u0131n\u0131n m\u00fcqayis\u0259si d\u0259, b\u0259rab\u0259rl\u0259\u015fdirilm\u0259si d\u0259 \u015feir d\u00fc\u015f\u00fcnc\u0259si \u00fc\u00e7\u00fcn yeni deyil. Amma bu t\u0259nhal\u0131qdan \u201cAllah\u0131n allah\u0131 olma\u011fa\u201d q\u0259d\u0259r ged\u0259n \u201cyol\u201dun m\u00f6vcud olmas\u0131n\u0131n ifad\u0259si yenidir. \u00dcmumiyy\u0259tl\u0259, ifad\u0259 v\u0259 t\u0259svir orijinall\u0131\u011f\u0131 \u00fc\u00e7\u00fcn \u0259n g\u00f6z\u0259l\u0259nilm\u0259z gedi\u015fl\u0259rin edilm\u0259si modernist-eksperimental \u015feir \u00fc\u00e7\u00fcn xarakterikdir. \u201cT\u0259nhayam \u0259lacs\u0131z d\u0259rd kimi\u201d, \u201ct\u0259nhayam t\u0259z\u0259c\u0259 basd\u0131r\u0131lm\u0131\u015f meyid kimi\u201d ifad\u0259l\u0259ri il\u0259 t\u0259yinini tapan t\u0259nhal\u0131q hissi o d\u0259r\u0259c\u0259d\u0259 ac\u0131 v\u0259 real bir hissi-emosional assosiasiya yarad\u0131r ki, bu, sonra istifad\u0259 edil\u0259n b\u0259nz\u0259tm\u0259n\u0131n g\u00f6zl\u0259nilm\u0259z z\u0259rb\u0259sin\u0259 h\u0259m haz\u0131rl\u0131q xarakteri da\u015f\u0131y\u0131r, h\u0259m d\u0259 onun effektini, a\u011f\u0131rl\u0131\u011f\u0131n\u0131 bir q\u0259d\u0259r d\u0259 art\u0131rm\u0131\u015f olur: \u201cT\u0259z\u0259 do\u011fulmu\u015f bir k\u00f6rp\u0259nin\/Q\u0259fil dil a\u00e7\u0131b\/\u201c\u00d6l\u00fcr\u0259m\u201d dem\u0259yin\u0259\/B\u0259nz\u0259yir\u0259m bu g\u00fcn\u201d. \u201c\u018flacs\u0131z d\u0259rdin\u201d t\u0259nhal\u0131\u011f\u0131 t\u0259x\u0259yy\u00fcl\u00fcn q\u0259bul ed\u0259 bil\u0259c\u0259yi bir b\u0259nz\u0259tm\u0259dir. A\u011fr\u0131n\u0131n d\u0259h\u015f\u0259tini, emosional planda do\u011furdu\u011fu etiraz\u0131n b\u00f6y\u00fckl\u00fcy\u00fcn\u00fc ifad\u0259 edi bilir. \u201cT\u0259z\u0259c\u0259 basd\u0131r\u0131lm\u0131\u015f meyidin\u201d t\u0259nhal\u0131\u011f\u0131 da g\u00f6zl\u0259nilm\u0259z v\u0259 s\u0259rt bir ifad\u0259 olsa da, ona da \u015f\u00fcurun al\u0131\u015fmas\u0131 \u00e7ox a\u011f\u0131r olmur. Amma \u201ct\u0259z\u0259 do\u011fulmu\u015f k\u00f6rp\u0259nin \u201c\u00f6l\u00fcr\u0259m\u201d dem\u0259sin\u0259 b\u0259nz\u0259m\u0259k\u201d t\u0259s\u0259vv\u00fcr olunmas\u0131 \u00e7\u0259tin olan b\u0259nz\u0259tm\u0259dir. O proses m\u00fcmk\u00fcns\u00fczd\u00fcr. M\u00fcmk\u00fcns\u00fcz oldu\u011fu \u00fc\u00e7\u00fcn d\u0259 maraql\u0131d\u0131r. Silk\u0259l\u0259yicidir. Da\u011f\u0131d\u0131c\u0131 v\u0259 d\u00fc\u015f\u00fcnd\u00fcr\u00fcc\u00fcd\u00fcr. Bu b\u0259nz\u0259tm\u0259 \u201cd\u0259rdin a\u011f\u0131rl\u0131\u011f\u0131ndan yoxam\u201d, \u201che\u00e7\u0259m\u201d anlam\u0131nda d\u0259rk oluna bil\u0259r. Amma adi \u015f\u0259kild\u0259 t\u0259svir edil\u0259n yoxluq bel\u0259 bir s\u0259rt effekti yarada bilm\u0259zdi. Eyni fikri \u201cm\u0259nd\u0259n q\u0259mli m\u0259ktub yoxdur d\u00fcnyada\u201d b\u0259nz\u0259tm\u0259sin\u0259 d\u0259 aid tm\u0259k olar. Bu da \u0259n\u0259n\u0259vi d\u00fc\u015f\u00fcnc\u0259 qat\u0131nda silk\u0259l\u0259nm\u0259 yaradan ifad\u0259dir. \u00c7\u00fcnki tanr\u0131ya m\u0259ktub yaz\u0131lmas\u0131 kimi q\u0259dim bir \u0259n\u0259n\u0259 m\u00f6vcuddur. Dini-inanc\u0131 \u0259saslar\u0131 olan bu \u0259n\u0259n\u0259 g\u00f6st\u0259ril\u0259n m\u0259tnd\u0259 t\u0259rsin\u0259 istiqam\u0259tl\u0259ndirilir. Tanr\u0131n\u0131n yazd\u0131\u011f\u0131 m\u0259ktub obrazla\u015fd\u0131r\u0131l\u0131r. Poetik q\u0259hr\u0259manla eynil\u0259\u015fdirilir. Bu d\u0259f\u0259 d\u0259rdi, arzusu, \u00e7\u0259tinliyi olan \u0130nsan yox, Tanr\u0131d\u0131r. H\u0259tta \u201c\u015f\u00fcur ax\u0131n\u0131\u201d poetik q\u0259hr\u0259man\u0131 \u00e7ox f\u0259rqli bir istiqam\u0259t\u0259 apar\u0131b \u00e7\u0131xar\u0131r:\u00a0<\/span>
b\u0259lk\u0259 s\u0259n d\u0259 yoxsan<\/span>
tanr\u0131 deyil\u0259n ancaq b\u00f6y\u00fck bir d\u0259rd var bu d\u00fcnyada<\/span>
\u015fairl\u0259r tanr\u0131la\u015fa-tanr\u0131la\u015fa<\/span>
s\u00f6z-s\u00f6z, misra-misra s\u00f6k\u00fcr o d\u0259rdi<\/span>
bel\u0259c\u0259 bir g\u00fcn d\u0259 d\u00fcnyan\u0131n son \u015fairi<\/span>
d\u00fcnyan\u0131n son d\u0259rdini s\u00f6k\u00fcb ged\u0259c\u0259k<\/span>
d\u00fcnyan\u0131n son tanr\u0131s\u0131t\u0259k<\/span>
D\u0259rd ad\u0131 \u00e7\u0259kilm\u0259y\u0259n bir \u0259\u015fya – s\u00f6k\u00fcl\u0259n bir \u0259\u015fya kimi t\u0259qdim olunur. Onu s\u00f6k\u0259n, dem\u0259li, h\u0259m d\u0259 azaldan is\u0259 \u015fairdir. D\u00fcnyan\u0131n son tanr\u0131s\u0131 il\u0259 eyni tutulan, onunla b\u0259rab\u0259rl\u0259\u015fdiril\u0259n \u015fair. Bu b\u0259rab\u0259rl\u0259\u015fdirm\u0259 tendensiyas\u0131 \u00e7a\u011fda\u015f \u015feird\u0259 h\u0259m modernist-eksperimental, h\u0259m d\u0259 \u0259n\u0259n\u0259vi formal\u0131 eksperimental \u015feird\u0259 \u00e7ox m\u00fc\u015fahid\u0259 edildi.\u00a0<\/span>
\u201cModernzmd\u0259 ekzistensial probleml\u0259r\u0259 maraq \u00e7oxdur, ayr\u0131-ayr\u0131 sirl\u0259r\u0259, d\u0259rinlikl\u0259r\u0259 maraq v\u0259 bu d\u0259rinlikl\u0259rin h\u0259m \u00f6z, h\u0259m d\u0259 ba\u015fqa q\u0259lbl\u0259rd\u0259 tap\u0131lmas\u0131 v\u0259 ya\u015fanmas\u0131nda qada\u011fan\u0131n olmamas\u0131\u201d aktuald\u0131r (14). Bu c\u00fcr qeyri-\u0259n\u0259n\u0259vi probleml\u0259r\u0259 qeyri-\u0259n\u0259n\u0259vi yana\u015fmalar V.B.Od\u0259rin yarad\u0131c\u0131l\u0131\u011f\u0131 \u00fc\u00e7\u00fcn aktuald\u0131r. O, \u201c\u00dcz\u00fcn\u00fc ovcuna alma, ay d\u0259li\u201d \u015feirind\u0259 \u201covuc i\u00e7ind\u0259 sima\u201d t\u0259svir etm\u0259kl\u0259 b\u0259rab\u0259r bu assosiativ t\u0259svirin alt qatlar\u0131na, daxili m\u0259rh\u0259l\u0259l\u0259rin\u0259 enir. \u201cD\u0259lilik\u201d m\u0259qam\u0131 il\u0259 \u201cAllah\u0131 anlamaq\u201d m\u0259qam\u0131 aras\u0131nda bir \u0259laq\u0259 qurma\u011fa \u00e7al\u0131\u015f\u0131r:<\/span>
\u00c7\u0259kir \u00fcr\u0259kl\u0259rimiz<\/span>
\u00c7\u0259kir bu d\u00fcnyan\u0131n d\u0259mini<\/span>
\u00dcz\u00fcn\u00fc ovcuna alma, ay d\u0259li,<\/span>
\u0259linl\u0259 \u0259rid\u0259mm\u0259zs\u0259n q\u0259mini.<\/span>
Yoxsa s\u0259nd\u0259 g\u00f6yd\u0259n\u0259 q\u0259d\u0259r d\u0259rd var,<\/span>
Ham\u0131s\u0131n\u0131 \u00e7\u0259kib \u00e7\u0131xm\u0131san ba\u015fa<\/span>
Ba\u015f\u0131n\u0131 d\u00f6ym\u0259y\u0259 bu do\u011fma divar<\/span>
bir g\u00f6y tapmam\u0131san ovcundan ba\u015fqa?<\/span>
Modernist \u015feird\u0259 aktualla\u015fan bir \u00e7ox obrazlardan biri d\u0259 D\u0259lidir. Amma modernizmd\u0259 meydana \u00e7\u0131x\u0131b postmodernizmd\u0259 apar\u0131c\u0131 prinsipl\u0259rd\u0259n birin\u0259 \u00e7evril\u0259n \u201cd\u0259lilik\u201d d\u0259, \u201c\u015fizofren ruh hal\u0131\u201d da bu d\u0259f\u0259 \u015fair \u00fc\u00e7\u00fcn f\u0259rqli keyfiyy\u0259t \u0259ld\u0259 etdi. O, Allahla \u0259laq\u0259 vasit\u0259sin\u0259 \u00e7evrildi. O, adi insan\u0131n g\u00f6r\u0259 v\u0259 duya bildikl\u0259rind\u0259n qat-qat art\u0131\u011f\u0131n\u0131 duya v\u0259 ed\u0259 bildi. \u201cD\u0259rd sev\u0259n\u201d elan edildi.\u00a0<\/span>
\u00dcz\u00fcn\u00fc ovcuna alma, ay d\u0259li<\/span>
Yaz\u0131qd\u0131 vallah allah da<\/span>
\u00c7\u0259kir ham\u0131n\u0131n d\u0259rdini<\/span>
Bu d\u0259rd d\u0259 b\u0259s olmur he\u00e7 k\u0259s\u0259<\/span>
Qoyur \u00fcst\u00fcn\u0259 d\u00f6rd\u00fcn\u00fc.<\/span>
Zal\u0131mla\u015fd\u0131qca insanlar<\/span>
Daha fa\u011f\u0131r olur allah<\/span>
\u00c7\u0259kir ham\u0131n\u0131n d\u0259rdini<\/span>
Birin yerin\u0259 d\u00f6rd\u00fcn\u00fc<\/span>
…Qald\u0131r ba\u015f\u0131n\u0131 g\u00f6r\u00fcm<\/span>
\u00dcz\u00fcn, g\u00f6z\u00fcn, g\u00f6z ya\u015flar\u0131n<\/span>
Ovcunda soyuyur s\u0259nin<\/span>
Lap tanr\u0131n\u0131n \u00fcz\u00fcn\u0259c\u0259n<\/span>
G\u00f6zl\u0259rin b\u00f6y\u00fcy\u00fcr s\u0259nin<\/span>
Uzan\u0131r g\u00f6z\u00fcn\u00fcn ya\u015f\u0131<\/span>
Uzan\u0131r ovcun, \u0259ll\u0259rin<\/span>
Tanr\u0131 \u00fcz\u00fcnd\u0259 qalma\u011fa<\/span>
Uzan\u0131r tanr\u0131 \u00fcz\u00fcn\u00fc<\/span>
D\u00fcnyada \u0259n q\u0259mli \u00fczt\u0259k<\/span>
\u00d6p\u00fcb ovcuna alma\u011fa.\u00a0<\/span>
Bu da azm\u0131\u015f kimi, \u201cD\u0259li ruhu\u201d \u201dTanr\u0131 qoruyan\u201d, \u201cTanr\u0131ya t\u0259s\u0259lli ver\u0259n\u201d obraz kimi t\u0259qdim olunur. \u00c7\u00fcnki bu d\u00fcnyada Tanr\u0131n\u0131n d\u0259rdi – poetik q\u0259hr\u0259man\u0131n fikrinc\u0259, – insanlar\u0131nk\u0131ndan daha \u00e7oxdur. Bu s\u0259b\u0259bd\u0259n d\u0259 modernistl\u0259rin \u0259n \u00e7ox sevdiyi personaj – \u201cbalaca adam\u201d \u015feir\u0259 \u201cb\u00f6y\u00fck funksiyalar yerin\u0259 yetirm\u0259k\u201d, \u201cAllah\u0131 qurtarmaq\u201d \u00fc\u00e7\u00fcn daxil edilir. Bu \u015feird\u0259 d\u0259 \u0130nsan\u0131n \u201dy\u00fcks\u0259ldilm\u0259si\u201d, Tanr\u0131n\u0131n \u00f6z y\u00fcks\u0259kliyind\u0259n \u201cendirilm\u0259si\u201d prosesi t\u0259krarlan\u0131r.<\/span>
Ara\u015fd\u0131rd\u0131\u011f\u0131m\u0131z d\u00f6vrd\u0259 modernist-eksperimental poeziya \u00e7a\u011fda\u015f \u0259d\u0259biyyat\u0131n \u0259h\u0259miyy\u0259tli hiss\u0259sini t\u0259\u015fkil edir. B\u0259z\u0259n aliml\u0259rimiz \u201cmodernizm \u0259slind\u0259 yenilik xatirin\u0259 yenilikdir. Pis i\u015fl\u0259r yoluxucu olur. Ona g\u00f6r\u0259 modernizmin \u0259n\u0259n\u0259vi \u0259d\u0259bi c\u0259r\u0259yanlara v\u0259 \u00fcslublara t\u0259siri d\u0259 g\u00fccl\u00fc olub. Lakin bu he\u00e7 d\u0259 modernizmin elitar, eksperimental v\u0259 qeyri-pe\u015f\u0259kar t\u0259bi\u0259tini aradan qald\u0131rm\u0131r\u201d. (3, 286-287) d\u00fc\u015f\u00fcnc\u0259sind\u0259 olsalar da, modernist-eksperimental \u015feir art\u0131q \u0259d\u0259bi fakta \u00e7evrilib v\u0259 \u00e7ox istdadl\u0131 n\u00fcmay\u0259nd\u0259l\u0259ri il\u0259 \u0259d\u0259biyyat tarixin\u0259 iz sal\u0131b.<\/span>

\u018fd\u0259biyyat<\/span>
1. C\u0259f\u0259r M\u0259mm\u0259d, \u201c\u015eeirimiz son be\u015f ild\u0259\u201d\/\/Se\u00e7ilmi\u015f \u0259s\u0259rl\u0259ri, III cild, Bak\u0131, 2003, 154 s\u0259h.<\/span>
2. C\u0259f\u0259rov Nizami, Klassikl\u0259rd\u0259n m\u00fcasirl\u0259r\u0259, Bak\u0131, \u00c7a\u015f\u0131o\u011flu, 2004, 272 s\u0259h.<\/span>
3. \u018fliyev R\u0259him, \u018fd\u0259biyyat n\u0259z\u0259riyy\u0259si, Bak\u0131, M\u00fct\u0259rcim, 2008, 360 s\u0259h.<\/span>
4. \u018fliyev R\u0259him, S\u0259n\u0259tkarl\u0131q axtar\u0131\u015flar\u0131n\u0131n yeni m\u0259rh\u0259l\u0259si, Poeziyan\u0131n t\u0259biiliyi. Bak\u0131, Yaz\u0131\u00e7\u0131, 1982, 90 s\u0259h.\u00a0<\/span>
5. \u018fli\u015fano\u011flu Tehran. \u015eeirimizin g\u00fcm\u00fc\u015f d\u00f6vr\u00fcnd\u0259n fraqmentl\u0259r<\/span>
6. Qarayev Ya\u015far, Tarix: yax\u0131ndan v\u0259 uzaqdan. Bak\u0131, Sabah, 1996, 712 s\u0259h<\/span>
7. Q\u0259hr\u0259manl\u0131 Nazif, \u018fd\u0259biyyat n\u0259z\u0259riyy\u0259si, Bak\u0131, BQU,<\/span>
8. M\u0259mm\u0259dova Sevinc \u00c7\u0259rk\u0259z q\u0131z\u0131, Az\u0259rbaycan \u0259d\u0259biyyat\u0131nda yeni yarad\u0131c\u0131l\u0131q meyill\u0259rinin t\u0259\u015f\u0259kk\u00fcl\u00fc, Dissertasiya, Bak\u0131, 2009<\/span>
9. Salmanov \u015eamil, S\u0259rb\u0259st \u015feir problemi \/\/ \u018fd\u0259bi-n\u0259z\u0259ri m\u0259cmu\u0259, I kitab, Bak\u0131, 2003, s.66-71\u00a0<\/span>
10. Umbrto Eko v\u0259 postmodernizm f\u0259ls\u0259f\u0259si, Bak\u0131, Qanun, 2012, 204 s\u0259h<\/span>
11. Yusifli Vaqif, Poeziyan\u0131n yollar\u0131 v\u0259 ill\u0259ri (1960-2000-ci ill\u0259r), Bak\u0131, M\u00fct\u0259rcim, 2009, 404 s<\/span>
12. Borev \u00d6. Gstetika, Moskva, V\u0131s\u015fa\u0259 \u015fkola, 2002<\/span>
13. Rudnev V. \u00abSlovar\u011f kul\u011ftur\u0131 XX veka\u00bb. Moskva, Aqraf, 1997, 384 s.<\/span>
14. \u00c7uprinin S. Jizn\u011f po pon\u0259ti\u0259m: russka\u0259 literatura seqodn\u0259\/\/Serqey \u00c7uprinin. – M.: Vrem\u0259, 2007. S.18<\/span><\/p>\n

Yaz\u0131ya 2018 d\u0259f\u0259 bax\u0131l\u0131b<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0Modernizm XX \u0259srin \u0259vv\u0259ll\u0259rinin hadis\u0259si idi. D\u00fcnya \u0259d\u0259biyyat\u0131, f\u0259ls\u0259f\u0259 v\u0259 inc\u0259s\u0259n\u0259t d\u0259 daxil olmaqla 50-60-c\u0131 ill\u0259rd\u0259n ba\u015flayaraq neomodernizm, postmodernizm, postpostmodernizm m\u0259rh\u0259l\u0259sini ya\u015fay\u0131r.\u201cModernizm v\u0259 postmodernizm XX \u0259srin hadis\u0259si olmas\u0131na baxmayaraq bizd\u0259 yaln\u0131z 90-c\u0131 ill\u0259rd\u0259n onlar haqq\u0131nda geni\u015f dan\u0131\u015f\u0131lma\u011fa ba\u015fland\u0131\u201d yazan t\u0259dqiqat\u00e7\u0131 S.M\u0259mm\u0259dova, t\u0259\u0259ss\u00fcf ki, m\u00fc\u0259yy\u0259n d\u0259qiq m\u00fc\u015fahid\u0259l\u0259rin\u0259 baxmayaraq, konkret n\u00fcmun\u0259l\u0259r \u0259sas\u0131nda t\u0259hlill\u0259r vermir (8, 103).\u00a0Az\u0259rbaycan poeziyas\u0131 […]<\/p>\n","protected":false},"author":1,"featured_media":7905,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[],"_links":{"self":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/7904"}],"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=7904"}],"version-history":[{"count":1,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/7904\/revisions"}],"predecessor-version":[{"id":7906,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/7904\/revisions\/7906"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/media\/7905"}],"wp:attachment":[{"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7904"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7904"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7904"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}