Curtain and those behind the curtain in the verse of Nasimi - - Rafael HUSEYNOV

“Curtain” and those behind the curtain in the verse of Nasimi - Rafael HUSEYNOV

In spite of being the theatrical notion and comprehended figuratively with respect to poetry, “curtain” actually exists in every field of art. The display of the reality not as naked but as visible from behind the curtain through artistic veil,in other word conventionality is the primary condition which makes the art as such thus granting it magic, attraction and mysteriousness. The degree of delicacy and transparency of the curtain in verse manifests the skillfulness of poet as well as increases the power of the figurative effect of word.
There are a number of words more frequently used in literary heritage of Seyid Imadaddin Nasimi, a great Azerbaijani philosopher-poet and a certain part of them are words-characters which carry considerably symbolical definition. And it is not casual either. As the poetry of Nasimi relates by essence to such trends as hurufism and sufism, it could not have passed by the symbolism peculiar to those sects. In Nasimi not only the words and phrases, but even the capital letters bear the symbolical meaning and as concrete characters facilitate the manifestation of the outlook of the poet. One of the most frequently used words-characters in “Divan”s of Nasimi written in mother tongue and Persian is “curtain”. Even through relating God with this character, Nasimi entitles him as an “owner of curtain”. Following the style of other poets of the Moslem East Nasimi also preferred to describe the beautiful women behind the veil, however tried to obtain more figurative effect through describing not only the beautiful women but also his thoughts and feelings behind the veil and curtain. The curtain in his verses enables Nasimi’s words to be comprehended as an expression of both divine and secular feelings as well as a manifestation of social-political meanings and tinges at the same moment. The ability of the reader to disclose the curtain over the hemistichs of Nasimi’s verses and see more clearly those behind the curtain depends of the degree of his awareness of classic context. Or one can interprete the same verse of Nasimi as purely human love if he puts aside the religious and philosophical meanings of hemistichs or accepting them in figurative meaning. Furthermore, one can comprehend those fragments quite differently and more philosophically on the basis of various hurufi-sufi terms and knowledge created by the terminology of Koran. 

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