Lirski ciklus Ahmeda Hatema Bjelopoljaka ili poetska arabeska vječne ljubavi

Mirza Sarajkić

Sažetak

Analizom gazela Ahmeda Hatema Bjelopoljaka (umro 1754. godine) u cjelini ili na mikroplanu, otkriva se kako je pjesnik sačinio osebujan lirski ciklus, i to po matrici arapskog alfabeta. Ovako pjesnik na indirektan način revitalizira i obogaćuje pjesničku formu abecedarijusa koji prerasta u ciklus, a onda i arabesku koja se može smatrati temeljnim leit motivom njegvog divana na arapskom jeziku.

Nižući gazele rimom od alifa do , on je na poseban način uredio i ulančao dvadeset osam poetskih tekstova. Svi su oni sintagmatički i pragmatički povezani u jedan sistem koji sam označio kao mistički lirski ciklus. U njemu se realizuje izrazita dinamika između mikrodiskursa (gazela) i sistema (ciklusa), odnosno pojedinačnog i cjeline. Centripetalna srijeda jeste tema pjesnikove zaljubljenosti u Boga.

Ona je primjer tekstualne izotopije Hatemovih gazela. S druge strane, u njima postoje i jake heterotopijske intencije. Naime, u dubinskoj strukturi makroteksta djeluju brojne centrifugalne sile, najčešće čestim varijacijama značenja simbola i neovisnošću stihova i/ili gazela.

Na taj se način postiže nova rema i dodatna ekspresivnost, kako dijela tako i cjeline pjesnikovog makroteksta. Vrhunac svega jeste podudarnost Hatemovog lirskog ciklusa s poetikom arabeske. Tako se njegov poetski tekst u cjelini može posmatrati i kao jedinstvena poetska arabeska vječne Ljubavi. U maniru klasičnih perzijskih liričara, Hatem je pomoću gazela i odnosno njihove arabeskne strukture na simboličan način pronašao je način da dodatno potpiše svoje ime.

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Lyrical cycle of Ahmad Khatem Bjelopoljak or poetical arabesque of eternal love

Analysing ghazals of Ahmad Khatem Bjelopoljak (died 1754.) in general as well as in the micro context shows how the poet composed rich lyrical cycle. He used Arabic alphabet as the pattern for lyrical cycle. In this way, Khatem indirectly revitalised and enriched poetical form of abecedarius turning it to the lyrical cycle and to the form of arabesque which can be taken as leitmotif of his diwan in Arabic language.

He arranged in a very peculiar way 28 poetical texts by successive rhyme from alif to ya. All poetical texts are sintagmatically and pragmatically bound together into a system marked as mystical lyrical cycle. In this cycle there is noticeable dynamic happening between micro discourse (ghazals) and the whole system (cycle). Centripetal centre is of course theme of poet’s love towards God. It reflects textual isotopic force in Khatem’s ghazals. At the other hand, there are strong heterotopical features. It means that centrifugal forces work in deep structure of macro text. It is realised by very often variation of symbols and high degree of verse’s as well as ghazal’s independence.

This brings new expressivity of both, micro and macro texts. The culmination of the Khatem’s poetry lies in the accordance of his lyrical cycle and the poetic of arabesque. In that sense, his poetical texts can be considered as a unique poetical arabesque of eternal Love. Finally, by following the tradition of the best medieval Persian poets, Khatem managed to leave his name as a signature trough the form of arabesque structure of his ghazals.

Ključne riječi

bošnjačka poezija na arapskom jeziku; tesavvuf; Ahmed Hatem Bjelopoljak; izotopija i heterotopija poetskog teksta; Bosniak poetry in Arabic language; tasawwuf; Ahmad Khatem Bjelopoljak; isotopia and heterotopia of poetic text

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