XVI asr mobaynida yevropalik sayyohlar va savdogarlar o‘z mamlakatlari mahsulotlarini hind ziravorlari, Xitoy ipaklari va ayrim yapon narsalari bilan ayirboshlash maqsadida Osiyo xalqlari tomon yo‘l olishdi. Avvaliga ispaniyalik va portugaliyaliklar Sharq bozorida yetakchilikni qo‘lga olishgan bo‘lsa, XVII asrning o‘rtalarida Gollandiyaning Iberiya yarim oroli savdogarlari bu borada o‘zib ketishdi. Biroq oradan ko‘p o‘tmay, angliyalik va frantsiyalik tijoratchilarning kuchli ta’siri ostida gollandlar savdodan siqib chiqarildi.

Savdogarlar sayohatlari davomida sehrli Sharq ertaklari, dostonlari va hikoyalarini tinglab, unga mahliyo bo‘lib kolishdi. Natijada, ingliz va frantsuz tijoratchilarining ong-u shuurida, hayolot olamida butunlay o‘zgacha to‘ntarish yuz berib, yurtlariga bir dunyo taassurotlar bilan qaytishdi. Buyuk Britaniya Markaziy Yevropadan umidini uzib, okean orti mamlakatlariga ko‘z tika boshladi. Angliyada yuksalishlar sur’ati jadallashgan edi. Inglizlar ustamonlik bilan azaliy dushmani Frantsiya kashf qilgan sharqona adabiyotlarni ham qo‘lga kiritib, dovrug‘ qozonishdi.

Jan Antuan Gallanning 1704-1711 yillarda Frantsiyada “Les Mille et une Nuits” nomi bilan bosqichma-bosqich tarzda chop etilgan “Ming bir kecha” arab ertaklari butun Yevropa kitob ahlini o‘zining sharqona xususiyatlari bilan maftun qilib qo‘ydi. Bu haqida frantsuz tarixchi-adabiyotshunos Pol Azar (Paul Hazard, 1878-1944) shunday so‘zlaydi: “When Scheherazade began to recount her stories of the night, to unfold the infinite wealth of an imagination enriched with all the dreams of Araby, of Syria and the great Levant; when she began to tell of the manners and customs of the peoples of the East, their religious ceremonies, their domestic habits, the details of their dazzling and colourful existence; when she showed how mankind could be held and enthralled, not by abstruse intellectual ideas, nor by recondite reasoning, but by the charm of colours and the lure of fairy tales, all Europe was fain to stop and listen”[1].

Ushbu fikr-mulohazani o‘zbek tiliga quyidagicha tarjima qildik: “Shaxrizoda o‘zining tungi ertaklarini hikoya qilishni boshlar ekan, hayolotning bepayon kengliklari Arabiston, Suriya va Shom mamlakatlari bilan boyidi; U Sharq xalqlarining fe’l-atvori va urf-odatlari, ularning diniy marosimlari, kundalik yumushlari, yorqin va rang-barang hayoti haqida so‘zlashni boshlaganida; U qanday qilib insoniyatni hech qanday murakkab intellektual g‘oyalarsiz yoki mavhum asoslarsiz maftun etishni namoyish qilib, ularni ertaklar olamiga shaydo qildi. Butun Yevropa buni bajonidil tinglardi”[2].

Antuan Gallan, ilk bora, 1690 yillarda Konstantinopolda “Dengizchi Sinbod qissasi” deb nomlangan qadimiy qo‘lyozmaga duch kelib, 1701 yilda uning frantsuz tilidagi versiyasini chop qildi[3]. Muvaffaqiyatli tarzda kutib olingan asar tarjimonni XIV asrga tegishli “Ming bir kecha” qissalarini tarjima qilishga undadi. 1704 yilda “Mille et Une Nuit” nomi bilan asarning ilk ikki bobi frantsuz tilida paydo bo‘ldi. Qissaning so‘ngi o‘n ikkinchi bobi tarjimasi esa 1717 yilda tarjimon vafotidan so‘ng nashrdan chiqdi. Gallanning muvaffaqiyati sababi shunda ediki, u asarni o‘z zamonasi kitobxonlari didiga moslab tarjima qilgandi. Mutarjimning mahorati haqida Xorxe Luis Borxes o‘zining “Ming bir kecha” qissasining tarjimonlari” (“The Translators of The Thousand and One Nights”) deb nomlangan kitobida shunday deb yozadi: “Another fact is undeniable. The most famous and eloquent encomiums of The Thousand and One Nights—by Coleridge, Thomas de Quincey, Stendhal, Tennyson, Edgar Allan Poe, Newman—are from readers of Galland’s translation. Two hundred years and ten better translations have passed, but the man in Europe or the Americas who thinks of the Thousand and One Nights thinks, invariably, of this first translation. The Spanish adjective milyunanochesco [thousand-and-one-nights-esque] … has nothing to do with the erudite obscenities of Burton or Mardrus and everything to do with Antoine Galland’s bijoux and sorcerie”[4]. Ya’ni: “Bu faktni inkor qilib bo‘lmaydi. “Ming bir kecha” ning eng mashhur va so‘zga chechan madhiyachilari – Kolrij, Tomas De Kvinsi, Stendal, Tennison, Edgar Allan Po, Nyumanlar – Gallan tarjimasini mutolaa qilishgan edi. Oradan ikki yuz yil o‘tdi va o‘nlab yaxshi tarjimalar yaratildi. Biroq Yevropa va amerikaliklar “Ming bir kecha” hikoyalarini birinchi tarjimadan tasavvur qilishdi. Ispancha sifat so‘z turkumiga tegishli – milyunanochesco (ming bir kechalik)… Byorton yoki Mardruslarning behayoligi bilan hech narsa qilib bo‘lmasa, Antuan Gallanning bebaho va sehrli qobiliyati bilan hamma narsa qilsa bo‘lardi”[5]. Chunki Gallan tarjima jarayonida ertakdagi beadab sahnalarni qisqartirib bergan.

XVIII asrda frantsuz tilidan ingliz tiliga tarjima qilingan “Ming bir kecha” ertaklari, go‘yoki, angliyaliklar tomonidan Yevropa adabiyotiga olib kirilgandek noto‘g‘ri talqin etildi. Frantsiya, nafaqat Angliyaga sharqona urug‘larni sochdi, balki Sharq hayolotining insoniyat bilgan va bilmagan bilimlari o‘rtasidagi chegarani topdi. Bu yerda sharqlik millat va elatlarning ayni chegarasi nazarda tutilmayapti, sayohatlar davomida sodir bo‘layotgan adabiy almashinuvlar va “Ming bir kecha” turkum ertaklarining asl mag‘zini chaqish xususida ham gap bormoqda. Frantsiyalik sharqshunos olim Pirr Martino ta’kidlaganidek: “The “literary Orient” was not “Asia”, but a large amorphous country which excluded the Holy Lands. This is one indication that the “literary Orient” was not authentic. Although the Holy Lands were technically Oriental, the European reader could not accept the exoticism of the literary Orient in company with the religious feelings he associated with the Holy Lands. Furthermore, his ancestors had battled in this region the same “infidels” whose way of life he now found exciting”[6]. Ushbu ta’rifni o‘zbek tiliga quyidagicha tarjima qildik: “Adabiy Sharq” deganda faqat “Osiyo” emas, balki muqaddas yerlarni o‘z ichiga olmaydigan hadsiz va shakl-shamoyilsiz mamlakatlar ham tushuniladi. Bu esa “adabiy Sharq” deganda, bitta joyni tushunish kerak emasligini anglatadi. Garchi muqaddas yerlar, haqiqatdan ham, sharqqa tegishli bo‘lsa-da, yevropalik kitobxon o‘zining muqaddas yerlar bilan bog‘liq diniy qarashlari negizidagi adabiy Sharqning g‘ayrioddiyligini hazm qila olmaydi. Bundan tashqari, u hozirda zavq olayotgan o‘sha “g‘ayridinlar” bilan uning ajdodlari bu maydonda kurashgan”.

Oxir-oqibat, “adabiy Sharq” sharqiy Yevropa xalqlari va O‘rta Yer atrofidagi ayrim mamlakatlar, xatto, Gretsiya va Afrikaning shimoliy hududlariga ham kirib keldi. Uilyam Bekford 1781 yil Parijda quyidagilarni yozadi: “This is the land of oriental literature and I am once more running over my favourite poems – The expedition of Alexander in search of the fountain of Immortality and the affecting tale of Megnoun and Leilah”[7] (“Ushbu yer sharqona adabiyotning vatanidir. Mening sevimli poyemalarim – mangulik favvorasini izlagan Iskandarning ekspeditsiyasi, hamda Layli va Majnunning ta’sirli hikoyalarini qayta-qayta o‘qigim keladi”)[8].

Gallan tarjima qilgan “Ming bir kecha” qissalarini mutlaqo aslidagidek frantsuz tiliga o‘girilgan deyish mushkul. Ayrim adabiyotshunoslar tarjima jarayonida ko‘plab qisqartirish va o‘zgartirishlarga duch kelgan asarni mutarjimning mualliflik ishi sifatida ham baholash mumkinligini qayd etishadi. Arab ertaklari nihoyatda tezlik bilan Yevropa bo‘ylab tarqalib, ko‘plab kitobxonlarning qalbidan chuqur joy olgandi: “… Pirated editions at once appeared in the Netherlands; there were many European versions made from it…. Galland was a born storyteller and he was able to adapt these Oriental tales not only to the taste of the France of his time but to the universal story-reading public of all countries and times. Some of his versions have been rendered back into Oriental languages and received with favour in the east. It cannot be claimed that he was a faithful translator – no one in his time was – and his recasting belongs more to French than to Arabic literature”[9] (“O‘sha paytlarda Niderlandiyada o‘g‘rincha tarzda chop etilgan varianti paydo bo‘ldi. Undan ko‘plab yevropaliklar foydanalinshdi… Gallan tug‘ma yozuvchi edi. U o‘z davrida Sharq ertaklarini faqat frantsuzlarning didiga moslab emas, balki   barcha xalqlar va zamonlarning universal kitobsevarlari o‘qiy oladigan qilib tarjima qilgandi. Uning ba’zi tarjimalari yana sharqiy tillarga o‘girilib, ijobiy qabul qilindi. Uni sodiq tarjimon deb bo‘lmaydi, chunki asar ustidagi uning qayta ishovlaridan so‘ng, arab adabiyotidan ko‘ra, frantsuz adabiyotiga yaqin asar yaratilgandi”)[10].

Shuningdek, Gallan tarjima jarayonida faqat birgina asl nusxadan foydalanmagan. O‘zi istamasada, turli qaroqchilik yo‘li bilan chop etilgan variantlarni va boshqa manbalarni ham ko‘rib chiqqan. Natijada, uning “Mille et Une Nuit” qissasi asliyatidan ancha farq qilib, turkum qissalar ro‘yxatidan yangi ertaklar ham joy oldi. Ular sirasiga hali-hanuz mashhurlik shohsupasidan tushmay kelayotgan – “Olovuddin va uning sehrli chirog‘i” va “Alibobo” qissalari kiradi[11].

Ingliz kitobxonlari “Ming bir kecha” qissalarini katta zavq-u shavq bilan mutolaa qildi. Ular asarni frantsuzlardan kam kutib olgani yo‘q. Qissaning ilk inglizcha tarjimasini qachon va kim qilgani noaniq bo‘lsa-da, 1707 yilning boshlarida Gallanning olti boblik asari asosida noma’lum mutarjim tomonidan quyidagi uzun va tavsifiy nom ostida ingliz tiliga o‘girildi: “Volume I. Arabian Nights/ Entertainments:/ Consisting of/ One Thousand and One/ Stories/ Told by/ The Sultaness of the Indies, to divert/ the Sultan from the Execution of a/ Bloody Vow he had made to marry a/ Lady every Day, and have her head cut off/ next Morning, to avenge himself for the/ Disloyalty of his first Sultaness, &c./ Containing/ A better Account of the Customs, Manners/ and Religion of the Eastern Nations, viz./ Tartars, Persians and Indians, than is to/ be met within any author hitherto pub-/ lished. /–/ Translated into French from the Arabian/ HSS. by M. Galland, of the Royal Aca-/ demy: And now done into English”[12].

Ayrim adabiyotshunoslar “Ming bir kecha” qissalarini birinchi marta ingliz tiliga o‘girgan tarjimonni “The Grub Street Translator” nomi bilan atashadi. Aynan u hozirgacha arab qissalari uchun ingliz adabiyotida foydalanib kelinayotgan “The Arabian Nights Entertainment” sarlavhasini kashf qilgan. Hattoki bu nom asarning Kalkuttadagi 1839-1842 yillardagi nashrlari uchun ingliz tilidan arabchaga qayta o‘girilgan[13]. Gallan tarjimasi bo‘y ko‘rsatgandan so‘ng to‘qqiz yil o‘tib, 1713 yilda ertakning inglizcha versiyasi to‘rtinchi bora nashrdan chiqdi. Ushbu variant XVIII  asrda ham deyarli qo‘shimcha va o‘zgarishlarga yuz tutmadi. Faqat 1799 yilda asarning yangi tarjimasi taqrizchisi quyidagilarni kuzatadi: “The merit of these pleasing and innocent stories, which have so frequently amused our childhood, nor have yet lost their affect upon us, had induced the publisher to attempt a reformation of the wretched translation into which they have been done now near a century”[14]. Ya’ni u quyidagi fikrlarni bildiradi: “Bolalik davrlarimizni benihoya vaqtichoq qilgan, yoinki hali-hanuz biz uchun o‘z qadr-qimmatini yo‘qotmagan yoqimli va dilkash hikoyalar noshirni yaxshi chiqmagan eski tarjima ustida qayta ishlashga undadi”[15].

“Ming bir kecha” qissalari angliyalik ijod ahliga chuqur ta’sir qilib, ular bolalik chog‘laridan boshlab, to voyaga yetgunlariga qadar sir-sinoatlarga limmo-lim Sharq ertaklari ohangida ulg‘ayishdi. Ularning ong-u shuurini qamrab olgan o‘sha hayollar ta’sirida o‘z asarlarini yozishdi. Ijodkorlarning bu boradagi fikr-mulohazalariga qisqacha to‘xtalib o‘tamiz. Angliyalik tarixchi Eduard Gibbon (Edward Gibbon, 1737-1794) 1789 yilda yozishni boshlagan o‘zining avtobiografik asarida shunday deydi: “Before I left Kingston school I was well acquainted with Pope’s Homer and the Arabian Nights’ Entertainments, two books which will always please by the moving picture of human manners and specious miracles…”[16] (“Men Kingston maktabini tamomlashimdan oldin, insoniyat xulq-atvori va g‘ayritabiiy mo‘jizalar tasvirlari bilan ko‘ngilni xush etadigan ikki kitob – Popning “Homer” dostoni va “Ming bir kecha” qissalari bilan chuqur tanishib chiqdim”)[17].

O‘zining sharqona qissasi “Vatek” (“Vathek”, 1786) bilan nom qozongan Uilyam Bekford (William Beckford, 1760-1844) ham yoshlik paytlarida “Ming bir kecha” ni mutolaa qiladi. Asar naqadar shoir hayotida muhim rol o‘ynaganligi haqida uning biogafik yozuvchisi shunday deydi: “He read and re-read these stories with avidity, and the impression they made on him was so strong that Lord Chatham instructed Lettice that the book must be kept from him. The precaution came too late… the Oriental tales had taken possession of the impressionable reader… They had fired his youthful mind and held his imagination captive; their influence over him never waned all the days of his life…”[18]. Ya’nikim: “U hikoyalarni nihoyatda sabrsizlik bilan qayta-qayta o‘qib chiqdi. Asar unda shunchalar kuchli taasurot uyg‘otgandiki, oxiri lord Chatam kitobni undan olib qo‘yish kerakligi haqida Lettisga ko‘rsatma berdi. Ehtiyot chorasini ko‘rishga endi juda kech edi… Sharqona ertaklar hassos kitobxonning ongiga o‘rnashib bo‘lgandi… Ular yoshgina qalbga o‘t solib, uni o‘ziga butunlay asir qildi. Asarning ta’sir kuchi shoir umrining qolgan qismida ham zarracha kamaymadi…”

Bekfordning zamondoshi, Angliyada romantizm davri asoschilaridan biri Uilyam Vordsvort (William Wordsworth, 1770–1850) ham tengdoshlari qatori Sharq ertaklariga mahliyo bo‘lgandi. Vordsvort o‘zining “Muqaddima” (The Prelude, 1799-1805) poemasida “Ming bir kecha” kitobining bir tomini qanday qilib avaylab-asragani va qolgan qismlarini topishda qanchalar tushkunlikka tushganini eslaydi:

A precious treasure had I long possessed,
A little yellow, canvas-covered book,
A slender abstract of the Arabian tales;
And, from companions in a new abode,
When first I learnt, that this dear prize of mine
Was but a block hewn from a mighty quarry –
That there were four large volumes, laden all
With kindred matter, ’twas to me, in truth,
A promise scarcely earthly. Instantly,
With one not richer than myself, I made
A covenant that each should lay aside
The moneys he possessed, and hoard up the more,
Till our joint savings had amassed enough
To make this book our own. Through several months,
In spite of all temptation, we preserved
Religiously that vow; but firmness failed,
Nor were we ever masters of our wish.[19]

Yuqoridagi poyemadan parchani o‘zbek tiliga quyidagicha tarjima qildik:

Mitti sarg‘ish, kanob jild kitob,
Arab ertaklarin mavhum bir qismin –
Xazinam misoli asrab-avaylam;
Yangi o‘lkadagi hamrohlarimdan,
Angladim, shu erur ko‘nglim gavhari.
Lek bu ov o‘ljasi bo‘lingan to‘rtga –
To‘rt jildan iborat emishdir alar,
Haqiqat tobora bo‘lmishdir ayon,
Ahd-paymon tuyular bazo‘r, dargumon.
Mendan boyroq odam yo‘q edi, go‘yo,
Lek va’da sarobga aylanib borar.
To‘pladik boylikni ko‘p va xo‘p, biroq
Birgalikda yig‘dik, yurdik begumon
Shul kitob egasi bo‘lmoqlik uchun. Sarflab qancha oylar,
Nafs quli bo‘lmay, saqladik –
Tangriga sodiqligimiz; Lek sindi qat’iylik,
Derlar: – Banda aytganlari bo‘lmaydi ro‘yob[20].

Kolrij o‘zining 1801-1816 yillar oralig‘ida to‘plangan siyosiy va falsafiy ocherklari jamlagan “Munosabat” (“The Friend”) nomli asarida bolalik chog‘laridayoq arab ertaklariga mehr qo‘yganini tasvirlaydi: “As I had read one volume of these tales over and over again before my fifth birthday, it may be readily conjectured of  what sort these fancies and feelings must have been. The book, I well remember, used to lie in a corner of the parlour-window at my dear father’s vicarage-house: I can never forget with what a strange mixture of obscure dread and intense desire I used to look at the volume and watch it, till the morning sunshine had reached and nearly covered it, when, and not before, I felt the courage given me to seize the precious treasure and hurry off with it to some sunny corner in our playground”[21] (“Besh yoshga to‘lgunimga qadar ushbu ertaklarning bir jildini qayta va qayta mutolaa qilib, butun hayolim-u hissiyotlarim nima bilan band bo‘lganini tasavvur qilish oson. Kitob, hali-hanuz esimda, xudojo‘y otamning ibodatxonasi yaqinidagi mehmonxona oynasi burchagida yotardi: Tushunarsiz vahima va kuchli xohish ichimda qorishib, o‘sha kitobga qarashga, to tongi quyosh nurlari tushib, uning ustini qoplab olguniga qadar tomosha qilishga jur’at qilganim hamon yodimdan chiqmaydi. Shunday qilib, bu bebaho xazinani qo‘limga olishga dadillik sezib, uni ushladim-u o‘yingohdagi charog‘on burchak tomon chopdim”[22].

Yuqorida keltirilgan ma’lumotlardan shu narsa ma’lum bo‘ladiki, ilk bora arabchadan frantsuz tiliga tarjima qilingan “Ming bir kecha” ertaklari Yevropa adabiyotida katta burilish yasadi. Frantsiyada boshlangan romantik harakatlar Angliya bo‘ylab tarqaldi. Arab ertaklarining ohangrabosi frantsuz va ingliz yozuvchilariga misli ko‘rinmas darajada yuksak ilhom bag‘ishladi. Ularning Sharq olamiga bo‘lgan qiziqishlari tobora ortib, yana boshqa adabiyotlar orqali sharqiy mamakatlarning geografiyasi, tabiati, urf-odatlari-yu an’analari, tarixiy shaxslari va milliy qadriyatlarini o‘rganishga da’vat etdi. Natijada, ijodkorlar romantik ruhdagi yangidan-yangi asarlar yozishni boshlashdi. O‘z navbatida Angliyada XVIII asrning oxirlarida “Ko‘l maktabi” shoirlari Sauti, Kolrij va Vordsvortlar o‘zlarining sharqona xususiyatlarga boy ijodlari bilan ingliz adabiyotida Romantizm davriga asos solishdi.

 

Foydalanilgan adabiyotlar ro‘yxati:

1. Robert L. Mack, ed. (2009). “Introduction”.A rabian Nights’ Entertainments. Oxford: Oxford UP. pp. ix–xxiii.
2. Jorge Luis Borges, “The Translators of The Thousand and One Nights” in The Total Library: Non-Fiction 1922-1986, Eliot Weinberger (Penguin, 1999)
3. Martino, l’0rient dans la Litterature Francaise au XVIIe et au XVIIIe Siecle (1906), 19 ff.
4. Letter to Lady Hamilton, 20 February 1781, in The Life and Letters of William Beckford of Fonthill (1910), by Lewis Melville, p. 103.
5. B. Macdonald, in The Encyclopedia Brittanica (1959), XXII, p.157
6. Mia Gerhardt, The Art of Story-telling (1963), p. 12.
7. B. Macdonald, “A Bibliographical and Literary Study of the First Appearance of the Arabian Nights in Europe”, Library Quarterly, II (1932), pp. 406,407.
8. , p. 406.
9. The Gentleman’s Magazine, LXIX (1799), p. 55.
10. Gibbon, Autobiography (1961), Saunders, p. 61.
11. Melville, op. cit., p. 20,
12. Wordsworth, The Prelude, Book V, 459-476.
13. Coleridge, The Friend: A Series of essays. Fb&c Limited, 2018.

–––––––––––––––––––––

[1] Paul Hazard, The European Mind (1953), p. 363.

[2] Ingliz tilidan tarjima bizniki. – G.M.

[3] Robert L. Mack, ed. (2009). “Introduction”. Arabian Nights’ Entertainments. Oxford: Oxford UP. pp. ix–xxiii.

[4] Jorge Luis Borges, “The Translators of The Thousand and One Nights” in The Total Library: Non-Fiction 1922-1986, ed. Eliot Weinberger (Penguin, 1999)

[5] Ingliz tilidan tarjima bizniki. – G.M.

[6] Martino, l’0rient dans la Litterature Francaise au XVIIe et au XVIIIe Siecle (1906), p. 19 ff.

[7] Letter to Lady Hamilton, 20 February 1781, in The Life and Letters of William Beckford of Fonthill (1910), by Lewis Melville, p. 103.

[8] Ingliz tilidan tarjima bizniki. – G.M.

[9] D. B. Macdonald, in The Encyclopedia Brittanica (1959), XXII, p.157

[10] Ingliz tilidan tarjima bizniki. – G.M.

[11] Mia Gerhardt, The Art of Story-telling (1963), p. 12.

[12] D. B. Macdonald, “A Bibliographical and Literary Study of the First Appearance of the Arabian Nights in Europe”, Library Quarterly, II (1932), pp. 406,407.

[13] Ibid., p. 406.

[14] The Gentleman’s Magazine, LXIX (1799), p. 55.

[15] Ingliz tilidan tarjima bizniki. – G.M.

[16] Gibbon, Autobiography (1961), ed. Saunders, p. 61.

[17] Ingliz tilidan tarjima bizniki. – G.M.

[18] Melville, op. cit., p. 20, 21.

[19] Wordsworth, The Prelude, Book V, 11. 459-476.

[20] Ingliz tilidan tarjima bizniki. – G.M.

[21] Coleridge, The Friend: A Series of essays. Fb&c Limited, 2018.

[22] Ingliz tilidan tarjima bizniki. – G.M.