{"id":63208,"date":"2025-12-16T09:57:20","date_gmt":"2025-12-16T05:57:20","guid":{"rendered":"https:\/\/azerbaycan.media\/?p=63208"},"modified":"2025-12-17T07:29:32","modified_gmt":"2025-12-17T03:29:32","slug":"ramiz-rovs%c9%99nin-seiri-iki-%c9%99srin-qovsaginda-elnar%c9%99-akimovanin-yazisi","status":"publish","type":"post","link":"https:\/\/azerbaycan.media\/?p=63208","title":{"rendered":"Ramiz R\u00f6v\u015f\u0259nin \u015feiri: iki \u0259srin qov\u015fa\u011f\u0131nda \u2013 Elnar\u0259 Akimovan\u0131n yaz\u0131s\u0131"},"content":{"rendered":"

Elnar\u0259 AK\u0130MOVA<\/em><\/span><\/h3>\n
\n

Ramiz R\u00f6v\u015f\u0259n \u00e7a\u011fda\u015f Az\u0259rbaycan \u015feirinin s\u00fct\u00fcnlar\u0131ndan biridir. \u018fd\u0259biyyata g\u0259ldiyi 70-ci ill\u0259rd\u0259n etibar\u0259n poeziyam\u0131zda f\u0259rqli imza, f\u0259rqli n\u0259f\u0259s kimi do\u011fulan, milli Az\u0259rbaycan \u015ferinin y\u00f6n\u00fcn\u00fc d\u0259yi\u015f\u0259n Ramiz R\u00f6v\u015f\u0259n poetik n\u0259f\u0259sini \u00e7a\u011f\u0131m\u0131zad\u0259k qoruyub saxlama\u011f\u0131 bacaran \u015fairimizdir. Ramiz M\u00fcskanl\u0131 imzas\u0131 il\u0259 yazd\u0131\u011f\u0131 ilk \u015feirl\u0259rind\u0259n diqq\u0259ti o q\u0259d\u0259r d\u0259 c\u0259lb etm\u0259y\u0259n g\u0259nc \u015fairin yeniliyi sonradan, birinci \u015feirl\u0259r kitab\u0131nda ger\u00e7\u0259kl\u0259\u015fdirdiyi m\u0259zmun v\u0259 intonasiya plan\u0131nda ba\u015f tutmu\u015fdur. Geni\u015f diapazon, f\u0259rqli metaforalar, poetik ah\u0259ng, d\u0259rin ruhi al\u0259mi il\u0259 se\u00e7il\u0259n \u015fairin m\u0259tnl\u0259rind\u0259 tale, \u00f6l\u00fcm, h\u0259yat tamam ba\u015fqa m\u00fcst\u0259vid\u0259n poetik m\u0259naya oturdulur, k\u0259d\u0259r motivinin maksimal qat\u0131ndan absurd, n\u0259hay\u0259tsiz sonuclara varan insan\u0131n i\u00e7 t\u0259lat\u00fcml\u0259ri s\u0259rgil\u0259nirdi. \u015eeirl\u0259rd\u0259 ehtiva olunan poetik m\u0259zmun lirik-f\u0259ls\u0259fi d\u00fc\u015f\u00fcnc\u0259l\u0259rl\u0259 z\u0259ngin idi. Bu orijinal poetik m\u0259zmun R.R\u00f6v\u015f\u0259nin \u015feirl\u0259rinin b\u0259dii qurulu\u015funda da t\u0259c\u0259ss\u00fcm edir, \u015f\u00fcuralt\u0131n\u0131 h\u0259r\u0259k\u0259t\u0259 g\u0259tir\u0259n g\u00f6zl\u0259nilm\u0259z detallara m\u00fcraci\u0259tl\u0259 m\u00fc\u0259llifin f\u0259rdi d\u0259st-x\u0259ttini m\u00fc\u0259yy\u0259nl\u0259\u015fdir\u0259n \u0259sas c\u0259h\u0259tl\u0259r kimi \u00fcz\u0259 \u00e7\u0131x\u0131rd\u0131.<\/em><\/strong><\/p>\n

Ramiz R\u00f6v\u015f\u0259nin 70-ci ill\u0259r \u015feir m\u0259kan\u0131na g\u0259tirdiyi yenilikl\u0259r s\u0131ras\u0131 daha \u00e7ox XX \u0259srin \u0259vv\u0259ll\u0259rind\u0259 yar\u0131m\u00e7\u0131q qalm\u0131\u015f modernizm dal\u011fas\u0131n\u0131 davam etdirm\u0259k missiyas\u0131ndan, eyni zamanda d\u00fcnya \u0259d\u0259bi c\u0259r\u0259yanlar\u0131n\u0131n milli poeziyam\u0131zda \u0259ks olunmas\u0131 ehtiyac\u0131ndan qaynaqlan\u0131rd\u0131. H.Cavid, M.Hadi, \u018f.Cavad, \u018f.H\u00fcseynzad\u0259, M.M\u00fc\u015ffiq \u015ferind\u0259 d\u00fcnya \u0259d\u0259bi c\u0259r\u0259yanlar\u0131n\u0131n m\u00fc\u0259yy\u0259n \u00e7\u0259kilib qabarmalarla \u00fcz\u0259 \u00e7\u0131xan dal\u011fas\u0131 R.R\u00f6v\u015f\u0259n \u015ferind\u0259 yenid\u0259n boy verib ir\u0259liy\u0259 at\u0131l\u0131rd\u0131.\u00a0 T\u00fcrkiy\u0259 v\u0259 Avropa \u0259d\u0259biyyat\u0131na n\u00fcfuz, oran\u0131n \u0259d\u0259bi-ictimai m\u00fchiti, yenilik\u00e7i \u015fairl\u0259ri (T\u00fcrkiy\u0259d\u0259 divan-t\u0259riq\u0259t \u015ferinin \u00e7\u0259r\u00e7iv\u0259l\u0259rini da\u011f\u0131tm\u0131\u015f N.Kamal, \u018f.Hamid, T.Fikr\u0259t, R.Tofiq, Avropada H\u00f6te, \u015eiller, Bayron, Rusiyada Pu\u015fkin, Lermontov, Blok, Yesenin, Bedn\u0131, Mayakovski) il\u0259 tan\u0131\u015fl\u0131q, h\u0259m d\u0259 t\u0259rc\u00fcm\u0259l\u0259r vasit\u0259sil\u0259 t\u0259sirl\u0259nm\u0259l\u0259r milli poeziyam\u0131zda yeni imzan\u0131n do\u011fulu\u015funu lab\u00fcd edirdi.<\/p>\n

\u018fd\u0259biyyat\u0131m\u0131z\u0131n 60-c\u0131 ill\u0259rd\u0259 yeti\u015f\u0259n n\u0259sli sovet d\u00f6vr\u00fcn\u00fcn istismara m\u0259ruz qalan yazar ordusunun i\u00e7ind\u0259 bo\u011fulub qalan azaql\u0131q nidas\u0131 kimi \u0259rs\u0259y\u0259 g\u0259lmi\u015fdi v\u0259 i\u00e7l\u0259rind\u0259ki yan\u011f\u0131, d\u0259rd, lirik-f\u0259ls\u0259fi d\u00fc\u015f\u00fcnc\u0259 t\u0259rzin\u0259 g\u00f6r\u0259 klassik \u015fairl\u0259rimizin, XX \u0259srin \u0259vv\u0259lind\u0259 yaz\u0131b-yaradan s\u0259n\u0259tkarlar\u0131m\u0131z\u0131n varisi kimi \u00e7\u0131x\u0131\u015f edirdi. Amma m\u0259s\u0259l\u0259 ziddiyy\u0259tin mahiyy\u0259tind\u0259 idi. M\u0259s\u0259l\u0259n, R.R\u00f6v\u015f\u0259nin \u015feirl\u0259rind\u0259ki qaranl\u0131q poeziyam\u0131zda yeni bir i\u015f\u0131q zola\u011f\u0131na yol a\u00e7\u0131rd\u0131, qaranl\u0131\u011f\u0131n \u00fcz\u0259rin\u0259 d\u00fc\u015f\u0259n i\u015f\u0131q hal\u0259sini g\u00f6r\u00fcb sez\u0259 bilirdik. \u018fd\u0259biyyat, poeziya c\u0259miyy\u0259td\u0259ki, d\u00fcnyadak\u0131\u00a0 qaranl\u0131qlardan\u00a0 i\u015f\u0131\u011fa ke\u00e7iddir, \u0259slind\u0259. Amma bu ke\u00e7idi \u015fair nec\u0259 h\u0259yata ke\u00e7irm\u0259lidir? D\u00fc\u015f\u00fcnm\u00fcr\u0259m ki, \u00f6t\u0259n \u0259srin 20-40-c\u0131 ill\u0259rin nikbin ruhlu poeziyas\u0131 yaln\u0131z S.R\u00fcst\u0259min “\u0259l\u0259md\u0259n n\u0259\u015f\u0259y\u0259” imperativini ir\u0259li s\u00fcrm\u0259si il\u0259 realla\u015fd\u0131. Bu, hardasa yeni n\u0259sil poeziyas\u0131n\u0131n m\u0259n\u0259vi durumundan qaynaqlanan mahiyy\u0259t d\u0259yi\u015fimi oldu. 80-ci ill\u0259rin \u0259vv\u0259ll\u0259ri is\u0259 art\u0131q verilmi\u015f v\u0259dl\u0259rin, qap\u0131lm\u0131\u015f ill\u00fcziyalar\u0131n pu\u00e7 v\u0259 \u0259fsan\u0259d\u0259n ba\u015fqa he\u00e7 n\u0259 olmad\u0131\u011f\u0131n\u0131 ortaya qoyan zaman k\u0259simiydi. Ona g\u00f6r\u0259 g\u0259ncl\u0259rin poetik ovqatlar\u0131 da \u00f6zl\u0259rind\u0259n \u0259vv\u0259lki n\u0259sild\u0259n f\u0259rqli olaraq, daha \u00e7ox \u00e7\u00f6k\u00fc\u015f \u0259hval-ruhiyy\u0259li idi.<\/p>\n

R.R\u00f6v\u015f\u0259n imzas\u0131 el\u0259 bir d\u00f6vr\u00fcn qar\u0131\u015f\u0131ql\u0131\u011f\u0131 i\u00e7r\u0259 parlad\u0131 ki, \u0259d\u0259biyyat uzun onillik ona zorla a\u015f\u0131lanm\u0131\u015f h\u0259yat sevgisind\u0259n, n\u0259\u015f\u0259 sindromundan bezmi\u015f, bu s\u00fcni n\u0259\u015f\u0259d\u0259 sanki \u00f6z varl\u0131\u011f\u0131n\u0131, ya\u015fam\u0131n\u0131, duy\u011fusall\u0131\u011f\u0131n\u0131 itirmi\u015fdi. B\u0259lk\u0259 bu \u00fczd\u0259n, 60-c\u0131 ill\u0259r poeziyas\u0131nda V.S\u0259m\u0259do\u011flu, R.R\u00f6v\u015f\u0259n, V.B.Od\u0259rin \u00f6l\u00fcml\u0259 s\u00fcsl\u0259nmi\u015f \u015feirl\u0259rin\u0259 maraq sovet d\u00f6vr\u00fcnd\u0259 t\u0259bli\u011f olunan baya\u011f\u0131 nikbin ideyalar\u0131n vurdu\u011fu \u0259xlaqi-m\u0259n\u0259vi z\u0259rb\u0259nin \u015f\u00fcuralt\u0131 kompensasiyas\u0131n\u0131n ifad\u0259si idi. Bu, bir n\u00f6v oxucular\u0131n h\u0259min s\u00fcniliy\u0259 – ictimai-siyasi tematikaya, f\u0259rdin deyil, toplumun maraqlar\u0131na hesablanm\u0131\u015f m\u00f6vzulara etiraz\u0131 idi. Bu \u015fairl\u0259r h\u0259l\u0259 sovet d\u00f6vr\u00fcn\u00fcn hakim oldu\u011fu d\u00f6vrd\u0259 sosialist realizminin \u015fablonlar\u0131ndan imtina edir, \u00f6z ya\u015fam\u0131n\u0131n poeziyas\u0131n\u0131 yarad\u0131rd\u0131lar. Amma bu poeziya yaln\u0131z a\u011fr\u0131 simvolikas\u0131 kimi \u0259rs\u0259y\u0259 g\u0259lm\u0259di, h\u0259m d\u0259 onun poetik yadda\u015f\u0131n\u0131 bir c\u00fcml\u0259 il\u0259 dirild\u0259 bildi: “39-da do\u011fuldum, 37-d\u0259 tutuldum”, – yazd\u0131 S\u0259m\u0259do\u011flu.<\/p>\n

B\u0259li, poeziyada \u0259d\u0259bi n\u0259sil t\u0259z\u0259l\u0259nirdi v\u0259 bu n\u0259sil m\u0259hz, repressiya dal\u011fas\u0131nda g\u00fcdaza veril\u0259n \u015fairl\u0259rin varisi olaraq onlar\u0131n qald\u0131qlar\u0131 yerd\u0259n ba\u015flay\u0131rd\u0131lar. V.B.Od\u0259r “G\u00fcll\u0259l\u0259yin \u015fairl\u0259ri! Sonra diz \u00e7\u00f6k\u00fcn” \u015ferind\u0259 uca s\u0259sl\u0259 xitab edirdi:<\/p>\n

\"\"<\/p>\n

G\u00fcll\u0259l\u0259yin damarlara<\/em><\/p>\n

s\u0131\u011fmayan t\u0259z\u0259 qan\u0131!<\/em><\/p>\n

G\u00fcll\u0259l\u0259yin lirikan\u0131,<\/em><\/p>\n

Lorkan\u0131, Nerudan\u0131!..<\/em><\/p>\n

El\u0259c\u0259 d\u0259 R.R\u00f6v\u015f\u0259n:<\/p>\n

“Kimin xat\u0131r\u0131ndad\u0131r<\/em><\/p>\n

\u00a0 n\u0259\u011fm\u0259 q\u0131r\u011f\u0131n\u0131 ili?<\/em><\/p>\n

\u00a0 N\u0259\u011fm\u0259l\u0259ri<\/em><\/p>\n

\u00f6ld\u00fcr\u00fcrd\u00fcl\u0259r.<\/em><\/p>\n

\u00a0N\u0259\u011fm\u0259l\u0259r<\/em><\/p>\n

\u00a0\u015fairl\u0259rin qap\u0131s\u0131n\u0131<\/em><\/p>\n

d\u00f6y\u00fcrd\u00fcl\u0259r…\u00a0<\/em>– dey\u0259, art\u0131q sosializmin siyasi olaylar\u0131n\u0131n f\u0259ci aqib\u0259tini \u015fer\u0259 g\u0259tirirdil\u0259r. Kamil V\u0259liyev m\u0259qal\u0259l\u0259rinin birind\u0259 \u015fairl\u0259 ba\u011fl\u0131 “R.R\u00f6v\u015f\u0259n \u015feirl\u0259rind\u0259 s\u00f6z sanki q\u00fcrb\u0259td\u0259n v\u0259t\u0259n\u0259 g\u0259lir”, – yaz\u0131r. Bunu yaln\u0131z \u015ferin \u00f6z\u00fcn\u00fcn poetik yeniliyi kimi q\u0259bullanmaq olmur, b\u0259li, bu d\u00f6n\u0259md\u0259 h\u0259m d\u0259 susdurulmu\u015f azad poetik n\u0259f\u0259sl\u0259rin qanad \u00e7alan u\u00e7u\u015fu ba\u015flan\u0131r \u015feir s\u0259mas\u0131nda. Bu u\u00e7u\u015fda c\u0259miyy\u0259t v\u0259 d\u00fcnya konteksti tamam yeni rakursdan m\u0259tn\u0259 g\u0259tirilir, bu vaxtad\u0259k obrazla\u015fd\u0131r\u0131lan d\u00fcnya, kainat, Tanr\u0131, sevgi v\u0259 ba\u015fqa t\u0259s\u0259vv\u00fcrl\u0259r modifikasiyaya u\u011fray\u0131rd\u0131. Amma bu modifikasiya \u00e7a\u011f\u0131n insan\u0131n\u0131n daha ger\u00e7\u0259k simas\u0131, ya\u015fant\u0131s\u0131, m\u0259n\u0259vi durumunun \u015f\u0259kli idi. XX \u0259srin \u0259vv\u0259ll\u0259rind\u0259n ba\u015flayaraq, bir-birinin ard\u0131nca ba\u015f ver\u0259n m\u0259lum olaylar daha \u00e7ox b\u00f6hran ab-havas\u0131n\u0131 ya\u015fam\u0131\u015f oldu\u011fundan \u015fairin\u00a0 poetik “m\u0259n”ini d\u0259 bu ovqat \u00fcst\u00fcnd\u0259 k\u00f6kl\u0259m\u0259si sosializmin yalan\u00e7\u0131 n\u0259\u015f\u0259 imperativind\u0259n daha s\u0259mimi, daha t\u0259bii idi. Ya\u015fad\u0131qlar\u0131 il\u0259 t\u0259lqin olunanlar aras\u0131nda t\u0259zad \u015fairi ba\u015fqa s\u0259mtl\u0259r\u0259 y\u00f6n\u0259ldir, d\u00fcnya il\u0259 dialoqunu \u00f6zg\u0259 hava-havacatlara k\u00f6kl\u0259yirdi. 1970-ci ild\u0259 i\u015f\u0131q \u00fcz\u00fc g\u00f6r\u0259n\u00a0 “Bir ya\u011f\u0131\u015fl\u0131 n\u0259\u011fm\u0259” adl\u0131 ilk \u015feir kitab\u0131ndan art\u0131q R.R\u00f6v\u015f\u0259nin lirik q\u0259hr\u0259man\u0131 d\u00fcnya il\u0259 bar\u0131\u015fmaz, \u00fcsyankar m\u00f6vqeni ni\u015fan al\u0131rd\u0131. Bu kitabda R.R\u00f6v\u015f\u0259n q\u0259hr\u0259man\u0131 daha \u00e7ox \u00fcsyankar, m\u00fcbariz, etiraz\u00e7\u0131 ruhdad\u0131r: “Gec\u0259 ya\u011f\u0131\u015f ya\u011f\u0131r\/ g\u00fcnd\u00fcz \u00e7irkl\u0259n\u0259n\/ g\u00fcnahkar d\u00fcnyan\u0131 t\u0259mizl\u0259m\u0259k\u00e7\u00fcn…”, yaxud “Bu laqeyd adamlar aras\u0131nda m\u0259n\/ Sa\u011f\u0131ma, soluma\/ g\u00f6z yuma bils\u0259m…”.<\/p>\n

\u015eairin ikinci kitab\u0131 1987-ci ild\u0259 \u00e7ap olundu. “G\u00f6y \u00fcz\u00fc da\u015f saxlamaz” adlanan bu kitab “Ay i\u015f\u0131\u011f\u0131” \u015feri il\u0259 ba\u015flay\u0131r, burada da \u00f6z\u00fcn\u00fc “d\u0259liliy\u0259 vurmu\u015f” q\u0259hr\u0259man\u0131n simvolik i\u015far\u0259-eyhamlar\u0131na ayna tuturdu: “Dedil\u0259r, d\u0259lidi – n\u0259di,\/Kimi bir ad verdi m\u0259n\u0259.\/Kimi bax\u0131b k\u00fcl el\u0259di,\/Kimi bax\u0131b g\u00fcld\u00fc m\u0259n\u0259”.<\/p>\n

Ger\u00e7\u0259kl\u0259rin yalan qar\u015f\u0131s\u0131nda sars\u0131nt\u0131s\u0131, h\u0259qiq\u0259tin uydurulmu\u015flar qar\u015f\u0131s\u0131nda susqunlu\u011fu… \u0130\u00e7in\u0259 en\u0259n ruh, \u0259b\u0259diyy\u0259ti t\u0259rcih ed\u0259n d\u00fc\u015f\u00fcnc\u0259, \u00f6l\u00fcm\u00fc v\u0259sf ed\u0259n poeziya! B\u00f6y\u00fck v\u0259 f\u0259ci sars\u0131nt\u0131lar qar\u015f\u0131s\u0131nda ruhunu itirm\u0259k t\u0259hl\u00fck\u0259si il\u0259 \u00fczl\u0259\u015f\u0259n \u015fairin d\u00fcnyaya xitab\u0131n\u0131n yeni \u00e7alar\u0131. Vaxt g\u0259lir, insan anlay\u0131r ki, \u0259slind\u0259 fani olan d\u00fcnya yox, o \u00f6z\u00fcd\u00fcr. Sosialist dal\u011fas\u0131n\u0131n \u00e7\u0259kilib-qabarmalar\u0131 i\u00e7ind\u0259 bunu konseptual \u015f\u0259kild\u0259 ilk anlayanlardan oldu R.R\u00f6v\u015f\u0259n. “D\u00fcnyan\u0131n d\u0259lisov oyaqlar\u0131yla\/ Ulduzlar dan\u0131\u015fmaz\/ qorxular\u0131ndan…”, –\u00a0 yazan \u015fair daha sonra varl\u0131\u011f\u0131n daha sirli, metafizik qatlar\u0131na endi, burada art\u0131q onun d\u00fcnya il\u0259 deyil, \u00f6z\u00fc il\u0259 m\u00fchakim\u0259si ba\u015flad\u0131: “N\u0259 yax\u015f\u0131 tapd\u0131m \u00f6z\u00fcm\u00fc,\/ B\u00f6yr\u00fcmd\u0259n ke\u00e7ib getm\u0259dim”.\u00a0 \u015eairin ikinci kitab\u0131n\u0131n q\u0259hr\u0259man\u0131 daha \u00e7ox ekzistensial m\u0259qamlara, m\u0259tl\u0259bl\u0259r\u0259 h\u0259ssas biri olaraq meydana \u00e7\u0131xd\u0131, \u015fair \u00e7a\u011f\u0131n m\u0259nz\u0259r\u0259l\u0259ri i\u00e7r\u0259 g\u0259zi\u015f\u0259r\u0259k, mistik m\u0259nalar, simvolik atributlarla d\u00fcnya i\u015fl\u0259kl\u0259rinin hesabat\u0131n\u0131 dini-ilahi qatda arad\u0131. B\u0259\u015f\u0259rin qar\u0131\u015f\u0131q m\u0259nz\u0259r\u0259l\u0259ri \u00f6n\u00fcnd\u0259 \u00e7a\u015fq\u0131nl\u0131\u011fa u\u011fram\u0131\u015f insanl\u0131\u011f\u0131 itirdiyi ilahi ba\u011flara ba\u011flama\u011fa \u00e7al\u0131\u015fd\u0131, ona \u00f6z\u00fcn\u00fc tapmas\u0131 \u00fc\u00e7\u00fcn uy\u011fun bildirdi. Yolu ni\u015fan verdi: “\u00d6mr\u00fcm\u00fc qab kimi sald\u0131m \u0259limd\u0259n\/ \u00c7ox s\u0131nmayan \u015feyl\u0259r s\u0131nas\u0131 oldu.\/ B\u00fct\u00fcn yollar\u0131m\u0131 ald\u0131n \u0259limd\u0259n\/ B\u00fct\u00fcn yollar\u0131m\u0131n sonu s\u0259n oldun”.<\/p>\n

“G\u00f6y \u00fcz\u00fc da\u015f saxlamaz” kitab\u0131nda \u015fair-q\u0259hr\u0259man nisb\u0259t\u0259n i\u00e7\u0259\u00e7\u0259kilm\u0259y\u0259, d\u00fcnya il\u0259 bar\u0131\u015f m\u00f6vqeyin\u0259 adlay\u0131r. Bu kitabdak\u0131 \u015feirl\u0259rin m\u00f6vzu-m\u00fcnd\u0259ric\u0259si, h\u0259tta adlar\u0131 bel\u0259 art\u0131q\u00a0 g\u0259ncliyin \u00e7\u0131l\u011f\u0131n s\u00f6z\u00fcn\u00fc adlayan m\u00fcdrik bax\u0131\u015f\u0131n m\u00fc\u015fahid\u0259sind\u0259n hasil\u0259 g\u0259lirdi: “Ba\u015f\u0131 k\u0259sik g\u00f6z\u0259l k\u00f6t\u00fck”, “Qocal\u0131q”, “G\u00f6y \u00fcz\u00fc da\u015f saxlamaz”, “D\u00fcnya m\u0259nd\u0259n kiml\u0259r ke\u00e7di”, “T\u0259k adam”, “Ged\u0259nl\u0259r d\u00f6n\u0259r uzaqdan”… h\u0259r birind\u0259 d\u00fcnya, zaman v\u0259 insanla ba\u011fl\u0131 meditativ d\u00fc\u015f\u00fcnc\u0259, t\u0259klik nisgili, n\u0259sih\u0259t, t\u0259s\u0259lli m\u00f6vqeyi, yor\u011funluq \u0259hval\u0131 v\u0259 s. Bu \u015feirl\u0259rin qavran\u0131lmas\u0131, q\u0259bullan\u0131lmas\u0131, poetik d\u0259rki d\u0259 asan ba\u015fa g\u0259lm\u0259di. Milli \u0259d\u0259bi-n\u0259z\u0259ri d\u00fc\u015f\u00fcnc\u0259 yeniliyin bu qat\u0131n\u0131 anlama\u011fa haz\u0131r olmur, \u00e7\u0259tinlik \u00e7\u0259kir v\u0259 onu b\u0259sit postulatlarla b\u0259dii idrakdak\u0131 yerini k\u00f6lg\u0259 alt\u0131na salma\u011fa \u00e7al\u0131\u015f\u0131rd\u0131. \u00c7a\u011f\u0131n t\u0259nqid\u00e7isi Asif \u018ff\u0259ndiyev \u015fairin \u015feirl\u0259ri il\u0259 ba\u011fl\u0131: “\u015eeird\u0259 uydurdu\u011fu obrazlar insan\u0131 h\u0259yata yax\u0131nla\u015fd\u0131rmaq \u0259v\u0259zin\u0259 uzaqla\u015fd\u0131r\u0131r. Poeziya qeyri-real, qondarma oyuna \u00e7evrilir. Milli m\u00fc\u0259yy\u0259nlikd\u0259n m\u0259hrum olan\u00a0 bu c\u00fcr yaz\u0131lar poetik ilham\u0131n rasional, \u0259qliyy\u0259t\u00e7i eksperimentl\u0259 \u0259v\u0259z edilm\u0259sind\u0259n ba\u015fqa bir \u015fey deyildir”, – yaz\u0131rd\u0131.<\/p>\n

\u018fslind\u0259 is\u0259, R.R\u00f6v\u015f\u0259nin \u015feirl\u0259ri mifik d\u00fcnya il\u0259 real d\u00fcnyan\u0131n s\u0259rh\u0259dl\u0259rini darmada\u011f\u0131n etmi\u015f, \u0259d\u0259biyyat\u0131n \u0259b\u0259di m\u00f6vzular\u0131na yeni y\u00f6n a\u015f\u0131lama\u011fa m\u00fcv\u0259ff\u0259q olmu\u015fdur. Milli m\u00fcst\u0259qilliyimizi \u0259ld\u0259 etdiyimiz yeni d\u00f6n\u0259m\u0259 d\u0259 \u015fair “K\u0259p\u0259n\u0259k qanadlar\u0131” (1999), “Ged\u0259k biz olmayan yer\u0259” (2006) v\u0259 yarad\u0131c\u0131l\u0131\u011f\u0131n\u0131n m\u0259ntiqi sonucu olaraq “N\u0259f\u0259s – kitablar kitab\u0131” (2006) il\u0259 q\u0259d\u0259m qoydu. Burada da \u0130nsan v\u0259 onun azadl\u0131q sevdas\u0131, sevgi v\u0259 onun f\u0259ls\u0259f\u0259si, \u00f6l\u00fcm v\u0259 onun mistikas\u0131 yarad\u0131l\u0131\u015f\u0131n f\u0259rqli spektrl\u0259rini ni\u015fan alaraq yeni m\u0259zmun kontekstind\u0259 poeziyan\u0131n obyektivin\u0259 fokuslan\u0131rd\u0131.<\/p>\n

M\u0259n bir qad\u0131n b\u0259tnin\u0259<\/em><\/p>\n

y\u0131\u011f\u0131lmaq ist\u0259yir\u0259m.<\/em><\/p>\n

Bu d\u00fcnyada<\/em><\/p>\n

insan kimi do\u011fulmaq ist\u0259yir\u0259m.<\/em><\/p>\n

…M\u0259n bir tozam, azadam g\u00f6y \u00fcz\u00fcnd\u0259,<\/em><\/p>\n

N\u0259 olsun ki,<\/em><\/p>\n

Azad deyil bir adam yer \u00fcz\u00fcnd\u0259.<\/em><\/p>\n

H\u0259yata, c\u0259miyy\u0259t hadis\u0259l\u0259rin\u0259 orijinal, yeni yana\u015fma t\u0259rzi t\u0259qdim olunan bel\u0259 \u015feirl\u0259r yeni d\u00fcnyag\u00f6r\u00fc\u015f\u00fcn, \u00e7a\u011fda\u015f b\u0259dii d\u00fc\u015f\u00fcnc\u0259nin v\u0259 poetik \u00fcslubun ifad\u0259\u00e7isi olmaqla b\u0259rab\u0259r, \u00f6z\u00fcnd\u0259 m\u0259nsub oldu\u011fu zaman\u0131n h\u0259r\u0259k\u0259t ritmini da\u015f\u0131ya bilirdi. R.R\u00f6v\u015f\u0259nin t\u0259svir predmetin\u0259 \u00e7evirdiyi n\u0259sn\u0259l\u0259r daha \u00e7ox dekadans ruhunda idi, poetik ya\u015fam, ifad\u0259 t\u0259rzi, ger\u00e7\u0259kliy\u0259 yana\u015fma t\u0259rzi v\u0259 onu m\u0259naland\u0131rma maneras\u0131yla k\u0259d\u0259rin obraz\u0131n\u0131 yaratma\u011f\u0131 m\u0259qs\u0259d\u0259 \u00e7evirmi\u015fdi:<\/p>\n

\u015eirin-\u015firin yuxudayd\u0131q,<\/em><\/p>\n

Bir zal\u0131m oyatd\u0131 bizi.<\/em><\/p>\n

Analar\u0131n quca\u011f\u0131ndan<\/em><\/p>\n

Bu d\u00fcnyaya atd\u0131 bizi.<\/em><\/p>\n

\u018fd\u0259biyyat\u015f\u00fcnas alim Arif M\u0259mm\u0259dov yaz\u0131r: “Ramiz R\u00f6v\u015f\u0259n cavab\u0131 insan\u0131n \u00f6mr\u00fc boyu tapa bilm\u0259diyi suallara meyil g\u00f6st\u0259rir.. adi, v\u0259rdi\u015f etdiyimiz d\u00fc\u015f\u00fcnc\u0259 t\u0259rzin\u0259, anlay\u0131\u015flara yeni g\u00f6zl\u0259, qap\u0131n\u0131n arxas\u0131ndak\u0131 d\u00fcnyan\u0131n m\u0259ntiqin\u0259 v\u0259 \u00f6z\u00fcn\u0259m\u0259xsuslu\u011funa\u00a0 uy\u011fun m\u00f6vqed\u0259n yana\u015fma\u011fa \u00fcst\u00fcnl\u00fck verir. Onun \u015feir d\u00fcnyas\u0131 real h\u0259yat\u0131n \u00f6l\u00e7\u00fcl\u0259rin\u0259, m\u0259ntiqin\u0259 v\u0259 prinsipl\u0259rin\u0259 uy\u011fun g\u0259lmir”. B\u0259lk\u0259 bu \u00fczd\u0259n \u015fair ham\u0131dan qa\u00e7ma\u011fa niyy\u0259tli olub gizlinl\u0259r\u0259 meyl edir, b\u0259z\u0259n h\u0259tta gizl\u0259n\u0259 bil\u0259c\u0259yi m\u0259kan\u0131n \u00f6z\u00fc bel\u0259 darmada\u011f\u0131n olurdu:<\/p>\n

Gizl\u0259nm\u0259y\u0259 bir yer g\u00f6st\u0259r,<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 gizl\u0259nim,<\/em><\/p>\n

S\u0259h\u0259r-ax\u015fam, ax\u015fam-s\u0259h\u0259r<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 gizl\u0259nim,<\/em><\/p>\n

O\u011flumdan da, q\u0131z\u0131mdan da<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 gizl\u0259nim,<\/em><\/p>\n

Ham\u0131dan da, \u00f6z\u00fcmd\u0259n d\u0259<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 gizl\u0259nim…<\/em><\/p>\n

Bu qism \u015feirl\u0259rd\u0259 R.R\u00f6v\u015f\u0259nin \u00f6z\u00fcnd\u0259n, \u00f6z “m\u0259n”ind\u0259n uzaqla\u015fmas\u0131 hallar\u0131 qabar\u0131q idi,\u00a0 d\u00fcnya, insan, t\u0259bi\u0259t – h\u0259r bir m\u0259kan v\u0259 varl\u0131q g\u00f6st\u0259ricil\u0259ri bo\u015fluq i\u00e7\u0259risind\u0259 olan \u015fair \u00fc\u00e7\u00fcn sanki \u00f6z m\u00f6vcudluqlu\u011funu itirmi\u015fdi. Son s\u0131\u011f\u0131nacaq, son istinad g\u00f6r\u00fcnm\u00fcrd\u00fc, h\u0259r \u015fey m\u0259hv\u0259rind\u0259n \u00e7\u0131xm\u0131\u015f t\u0259siri ba\u011f\u0131\u015flay\u0131rd\u0131.<\/p>\n

G\u0259l \u0259l-\u0259l\u0259 tutub ged\u0259k,<\/em><\/p>\n

Ged\u0259k biz olmayan yer\u0259.<\/em><\/p>\n

H\u0259r d\u0259rdi unudub ged\u0259k<\/em><\/p>\n

D\u0259rdimiz olmayan yer\u0259.<\/em><\/p>\n

Ramiz R\u00f6v\u015f\u0259n poeziyas\u0131 \u00fcmumiyy\u0259tl\u0259, insan\u0131n fizioloji varl\u0131\u011f\u0131n\u0131 Tanr\u0131n\u0131n \u0259b\u0259di varl\u0131\u011f\u0131na tabe tutur, ona yetm\u0259k \u00fc\u00e7\u00fcn \u00f6l\u00fcm\u00fc v\u0259sf edirdi. Bu \u015feirl\u0259rd\u0259 \u00f6l\u00fcm\u0259 \u00e7ox do\u011fma, m\u0259hr\u0259mc\u0259sin\u0259 m\u00fcnasib\u0259t vard\u0131 v\u0259 bu m\u0259hr\u0259mlik \u015fairi \u00f6z \u00e7a\u011fda\u015flar\u0131ndan daha \u00e7ox s\u0259l\u0259fi F\u00fczuli il\u0259 birl\u0259\u015fdirirdi. “M\u0259n\u0259m ki, qafil\u0259salari- karivani-q\u0259m\u0259m”! XVI \u0259sr q\u0259m \u015fairinin m\u0259\u015fhur misras\u0131n\u0131 XX \u0259srin sonunda poeziyan\u0131n refrenin\u0259 \u00e7evirm\u0259k qism\u0259ti Ramiz R\u00f6v\u015f\u0259n \u015ferinin boyuna bi\u00e7ilmi\u015fdi. Maraql\u0131d\u0131r ki, \u015fairin poeziyas\u0131ndak\u0131 bu \u00e7alar\u0131n siray\u0259tedici g\u00fcc\u00fcn\u00fc onun b\u00fct\u00fcn t\u0259dqiqat\u00e7\u0131lar\u0131 qeyd el\u0259m\u0259yi unutmam\u0131\u015flar: “\u00d6lm\u0259yi sevm\u0259k f\u0259ls\u0259f\u0259si, \u00f6ld\u00fcrm\u0259k tipaj\u0131 v\u0259 simvolikas\u0131 (c\u0259llad v\u0259 qatil, yalquzaq v\u0259 canavar metaforalar\u0131, m\u0259zar, meyit, bayqu\u015f, tabut t\u0259f\u0259rr\u00fcat\u0131) cavan poeziyaya bir h\u0259yatdan, bir d\u0259 … Ramiz R\u00f6v\u015f\u0259nin poeziyas\u0131ndan s\u0131z\u0131l\u0131b yay\u0131ld\u0131” (Y.Qarayev).<\/p>\n

Deyirl\u0259r, yuxuda \u00f6lm\u0259k asand\u0131\u2026<\/em><\/p>\n

\u00d6z\u00fcn d\u0259 bilmirs\u0259n nec\u0259 \u00f6l\u00fcrs\u0259n.<\/em><\/p>\n

S\u0259h\u0259r tezd\u0259n e\u015fidirs\u0259n \u0259zand\u0131,<\/em><\/p>\n

Yuxundasa\u00a0 kirimi\u015fc\u0259 \u00f6l\u00fcrs\u0259n.<\/em><\/p>\n

Buradak\u0131 tipajlar – \u00d6l\u00fcm, tabut, m\u0259zar, \u00f6l\u00fc, qaranl\u0131q, t\u0259klik, fanilik\u2026 dem\u0259k olar ki, R.R\u00f6v\u015f\u0259n \u015ferinin h\u0259r misras\u0131n\u0131 \u00e7evr\u0259l\u0259yir, \u00f6l\u00fcml\u0259 ba\u011fl\u0131 r\u0259mzl\u0259r irreal, mistik, t\u0259ht\u0259l\u015f\u00fcur simvolika olmaqdan \u00e7\u0131x\u0131b t\u0259bi\u0259tin harmoniyas\u0131n\u0131n, \u0259b\u0259di qanununun t\u0259zah\u00fcr\u00fcn\u0259 \u00e7evrilirdi. Bu he\u00e7 d\u0259 \u0259n\u0259n\u0259ni q\u0131rmaq c\u0259hdi deyildi. \u018fksin\u0259, R.R\u00f6v\u015f\u0259nin poeziyas\u0131nda klassik milli poetik d\u00fc\u015f\u00fcnc\u0259nin alt qata hopmu\u015f n\u0259f\u0259si duyulurdu. Yenilik ilk n\u00f6vb\u0259d\u0259, \u0259n\u0259n\u0259ni q\u0259bul etm\u0259k, m\u0259hz onun z\u0259minind\u0259 yeti\u015f\u0259r\u0259k, h\u0259m d\u0259 \u0259n\u0259n\u0259 buxovunu q\u0131raraq\u00a0 poeziyada yeni poetik konstruksiyalar qurma\u011fa c\u0259hddir. Tomas Eliotun bel\u0259 bir fikri var: “Poeziya \u0259n\u0259n\u0259 s\u0131ras\u0131ndan ibar\u0259tdir, h\u0259r \u015fairin i\u015fi onun \u00fcz\u0259rin\u0259 g\u0259lib, el\u0259 bir n\u00f6qt\u0259, rakurs tapmaqdan ibar\u0259tdir ki, h\u0259min s\u0131ra t\u0259z\u0259d\u0259n v\u0259 tamam \u00f6zg\u0259 c\u00fcr\u0259 g\u00f6r\u00fcns\u00fcn”. R.R\u00f6v\u015f\u0259nin \u015feirl\u0259rind\u0259 d\u0259 adi n\u0259sn\u0259l\u0259rin, var olan\u0131n t\u0259z\u0259, m\u0259chul, sehrli qatda \u015f\u0259kill\u0259nm\u0259si ger\u00e7\u0259kl\u0259\u015fdi: “Bir q\u00fcrb\u0259t \u00f6lk\u0259 g\u0259zm\u0259k\/ D\u00fc\u015fm\u0259di pay\u0131m\u0131za.\/ Bu v\u0259t\u0259ni k\u0259f\u0259n t\u0259k,\/ \u00d6l\u00e7d\u00fcl\u0259r boyumuza”.<\/p>\n

Poeziyan\u0131n obrazlar\u0131, q\u0259hr\u0259manlar\u0131 d\u0259yi\u015fir, z\u0259man\u0259y\u0259 b\u0259nz\u0259m\u0259y\u0259n, ba\u015fqa poetik ovqatda ya\u015fayan insanlar\u0131n dili il\u0259 m\u00fcraci\u0259tin tonu, deklamasiyan\u0131n s\u0259ciyy\u0259si ba\u015fqala\u015f\u0131rd\u0131. Bu d\u0259yi\u015fikliyin i\u00e7ind\u0259n Tanr\u0131 obraz\u0131na m\u00fcnasib\u0259tin \u00f6z\u00fcnd\u0259 d\u0259 m\u00fc\u0259yy\u0259n t\u0259b\u0259dd\u00fclatlar\u0131n olmas\u0131 n\u0259z\u0259rd\u0259n qa\u00e7m\u0131r. Bu g\u00fcn\u0259 q\u0259d\u0259r poeziyam\u0131zda apar\u0131c\u0131 olan Tanr\u0131 ba\u015flan\u011f\u0131c\u0131, bu ba\u015flan\u011f\u0131cl\u0131 poeziyaya maraq R.R\u00f6v\u015f\u0259n \u015feirl\u0259rinin mayas\u0131n\u0131 t\u0259\u015fkil edir. Ad\u0259t\u0259n, daha \u00e7ox s\u0131na\u011fa \u00e7\u0259kil\u0259n ruhun, f\u0259ci durumlara m\u00fcbt\u0259la olmu\u015f toplumun ehtiyac\u0131 olur Tanr\u0131ya. Bu m\u0259s\u0259l\u0259d\u0259 \u0259d\u0259biyyat\u0131m\u0131z\u0131n naqis t\u0259cr\u00fcb\u0259si vard\u0131. Bildiyimiz kimi, sovet ideologiyas\u0131n\u0131n h\u00f6kmf\u0259rma oldu\u011fu ill\u0259rd\u0259, \u00f6z\u0259llikl\u0259 20-30-cu ill\u0259rd\u0259 Tanr\u0131ya, din\u0259, m\u00fcq\u0259dd\u0259s kitaba m\u00fcnasib\u0259td\u0259 nihilist m\u00f6vqe s\u0259rgil\u0259y\u0259n m\u0259tnl\u0259r, yana\u015fmalar ortaya qoyulurdu. D\u00fcnya kontekstind\u0259n yana\u015fanda\u00a0 bu, Q\u0259rb d\u00fc\u015f\u00fcnc\u0259sind\u0259 m\u00f6vcud, getdikc\u0259 m\u00f6hk\u0259ml\u0259n\u0259n Tanr\u0131s\u0131zl\u0131q, insan\u0131n f\u0259rdi duy\u011fular\u0131n\u0131n \u00f6n\u0259 \u00e7\u0259kilm\u0259si, yaln\u0131z \u00f6z\u00fcn\u0259 istinad etm\u0259 dal\u011fas\u0131n\u0131n bir t\u0259zah\u00fcr\u00fc olaraq qabar\u0131rd\u0131. Lakin\u00a0 20-30-cu ill\u0259rd\u0259 Tanr\u0131ya qar\u015f\u0131 \u00e7\u0131xma \u0259dalar\u0131 yaln\u0131z bununla ba\u011fl\u0131 deyildi, proletkul\u00e7ulu\u011fun yar\u0131tmaz t\u0259l\u0259bl\u0259rind\u0259n biri idi. Amma m\u0259lumdur ki, bu tendensiya \u00e7ox da uzun \u00e7\u0259km\u0259mi\u015f, yazarlar\u0131m\u0131z sosial b\u0259r\u0259b\u0259rlik, qarda\u015fl\u0131q \u015f\u00fcar\u0131n\u0131 b\u0259diiyyat\u0131n leytmotivin\u0259 \u00e7evirm\u0259kl\u0259 ateist d\u00fc\u015f\u00fcnc\u0259d\u0259n uzaqlama\u011fa \u00e7al\u0131\u015fm\u0131\u015flar. Lakin bu m\u00f6vzuda yazmaq c\u0259sar\u0259tli olma\u011f\u0131 t\u0259l\u0259b edir, m\u00fc\u0259yy\u0259n qorxu, \u00e7\u0259king\u0259nlik hissi do\u011furur, s\u0259n\u0259tkarlar\u0131 ehtiyatl\u0131 davranma\u011fa s\u00f6vq etdirirdi. Milli poeziyada bu tendensiyan\u0131n \u0259lam\u0259tl\u0259ri 40-c\u0131 ill\u0259r\u0259 q\u0259d\u0259r davam etdi. Amma bu da insanla Tanr\u0131 aras\u0131nda f\u0259rdi hissl\u0259rin \u00f6n\u0259 ke\u00e7diyi zaman deyildi. \u015eairl\u0259rin Tanr\u0131 il\u0259 m\u00fcnasib\u0259tl\u0259rinin m\u0259hr\u0259m m\u00fcst\u0259viy\u0259 adlamas\u0131 prosesi sonrak\u0131 onillikl\u0259rd\u0259 – 60-80-ci ill\u0259r poeziyas\u0131nda m\u00fcmk\u00fcn oldu. Bunun \u00fc\u00e7\u00fcn birc\u0259 s\u0259mimi m\u00fcraci\u0259t kifay\u0259t etdi: “M\u0259n burdayam, \u0130lahi!” (V.S\u0259m\u0259do\u011flu). R.R\u00f6v\u015f\u0259n poeziyas\u0131 bel\u0259 bir bo\u015fluqdan sonra Tanr\u0131ya m\u00fcnasib\u0259t-m\u00fcraci\u0259tin daha d\u0259rin konturlar\u0131n\u0131 c\u0131z\u0131rd\u0131. Bu \u015feirl\u0259rd\u0259 Allaha inam insana inamdan daha \u00f6nd\u0259 idi, insan\u0131n \u0259m\u0259ll\u0259rin\u0259 d\u0259 o q\u00fctbd\u0259n n\u0259z\u0259r sal\u0131n\u0131r, o m\u0259qamdan ittiham obyektin\u0259 \u00e7evrilirdi. Ramiz R\u00f6v\u015f\u0259nin “Oyun” \u015feri dedikl\u0259rimiz\u0259 \u0259yani s\u00fcbutdur:<\/p>\n

Bir q\u0131\u015f g\u00fcn\u00fc yatd\u0131m, ancaq<\/em><\/p>\n

Durub g\u00f6rd\u00fcm, pay\u0131zd\u0131.<\/em><\/p>\n

Bu kartlar\u0131 d\u0259yi\u015f, Allah,<\/em><\/p>\n

M\u0259n bu \u00f6mr\u00fc uduzdum.<\/em><\/p>\n

 <\/p>\n

Gec\u0259sini, g\u00fcnd\u00fcz\u00fcn\u00fc<\/em><\/p>\n

G\u00f6t\u00fcr, bir d\u0259 qar\u0131\u015fd\u0131r.<\/em><\/p>\n

D\u00fc\u015f, g\u00f6z\u00fcm\u00fcn qaba\u011f\u0131nda<\/em><\/p>\n

Burda, yerd\u0259 qar\u0131\u015fd\u0131r.<\/em><\/p>\n

 <\/p>\n

Amma \u00e7\u0131\u011fall\u0131q el\u0259m\u0259,<\/em><\/p>\n

D\u00fcz oyna, t\u0259miz oyna.<\/em><\/p>\n

 <\/p>\n

M\u0259n gedir\u0259m c\u0259h\u0259nn\u0259m\u0259,<\/em><\/p>\n

\u0130lahi, m\u0259nsiz oyna.<\/em><\/p>\n

70-ci ill\u0259r poeziyas\u0131nda Allah\u0131 yaln\u0131z g\u00f6yl\u0259rin deyil, h\u0259m d\u0259 yer \u00fcz\u00fcn\u00fcn \u0259\u015fr\u0259fi saymaq meyill\u0259ri\u00a0 he\u00e7 d\u0259 onu insanla\u015fd\u0131rmaq, insan kimi g\u00f6rm\u0259k m\u0259qs\u0259dind\u0259n yaranm\u0131rd\u0131. Bu \u015feirl\u0259rd\u0259 Allah \u0259z\u0259m\u0259tli g\u00fcc v\u0259 q\u00fcvv\u0259t da\u015f\u0131y\u0131c\u0131s\u0131yd\u0131. Sad\u0259c\u0259, Tanr\u0131ya insani hissl\u0259r a\u015f\u0131lan\u0131r, \u015fairl\u0259r obrazlar\u0131n\u0131n ya\u015fant\u0131lar\u0131n\u0131 t\u0259svir predmetin\u0259 \u00e7evirdikl\u0259ri kimi, Tanr\u0131n\u0131n bel\u0259 hissl\u0259rini, ya\u015fant\u0131lar\u0131n\u0131 g\u00f6st\u0259rm\u0259k c\u0259sar\u0259tind\u0259 bulunurdular. H\u0259l\u0259 60-c\u0131 ill\u0259rd\u0259 \u018fli K\u0259rimin “\u015e\u0259hidliyin zirv\u0259si” \u015ferind\u0259 m\u00fcraci\u0259t nec\u0259 idi? “Tanr\u0131 d\u0259h\u015f\u0259t\u0259 g\u0259lmi\u015f, qa\u00e7m\u0131\u015f yaratd\u0131\u011f\u0131ndan”… Bu N\u0259simi d\u00f6z\u00fcm\u00fc qar\u015f\u0131s\u0131nda \u015fair heyranl\u0131\u011f\u0131n\u0131n Tanr\u0131 s\u0259viyy\u0259sind\u0259 t\u0259qdimi idi. \u018fli K\u0259rim “M\u0259\u015f\u0259qq\u0259tli \u00f6l\u00fcm\u00fcn N\u0259simi zirv\u0259sin\u0259” Tanr\u0131n\u0131n bel\u0259 heyran k\u0259sildiyini g\u00f6st\u0259rm\u0259kl\u0259 \u015ferin poetik siql\u0259tini u\u011furla q\u00fcvv\u0259tl\u0259ndirmi\u015fdir. Bu h\u0259m d\u0259 Allaha m\u00fcnasib\u0259td\u0259 \u015feirin yaln\u0131z forma deyil, m\u0259zmun d\u0259yi\u015fimi idi. Ramiz R\u00f6v\u015f\u0259nin “Qap\u0131” \u015feirind\u0259ki Tanr\u0131 obraz\u0131 da biz\u0259 \u018f.K\u0259rim \u015feirind\u0259n h\u0259m\u0259n tan\u0131\u015f statusdad\u0131r: “Utand\u0131, s\u0131x\u0131ld\u0131 Allah,\/ Qald\u0131 g\u00f6y\u00fcn \u00fcz\u00fcnd\u0259.\/\u00a0 Ziba n\u0259n\u0259d\u0259n gizlic\u0259\/Yaz\u0131q uzatd\u0131 \u0259lini,\/ Ziba n\u0259n\u0259nin o\u011flunun\/ Yumdu a\u00e7\u0131q g\u00f6zl\u0259rini,-\/ G\u00f6z ya\u015f\u0131ndan island\u0131 barmaqlar\u0131”; yaxud “G\u00f6zl\u0259ri\/ d\u00fcz Allah\u0131n g\u00f6zl\u0259rin\u0259 bax\u0131rd\u0131\/ Allah d\u00f6z\u0259 bilm\u0259di,\/ yay\u0131nd\u0131rd\u0131 g\u00f6z\u00fcn\u00fc -\/ Ziba n\u0259n\u0259ni g\u00f6rd\u00fc.\/ Ziba n\u0259n\u0259 o\u011ful deyib a\u011flay\u0131rd\u0131.\/ Allah\u0131n\/ \u00fcr\u0259yi a\u011fr\u0131y\u0131rd\u0131”.<\/p>\n

R.R\u00f6v\u015f\u0259nin \u015feirl\u0259rind\u0259 h\u0259yat oyunlar\u0131ndan \u00e7\u0131x\u0131\u015f yolu \u00f6l\u00fcmd\u00fcr, \u00f6l\u00fcml\u0259 do\u011fmal\u0131qd\u0131r, onunla ironik \u015f\u0259kild\u0259 d\u0259 olsa m\u0259hr\u0259ml\u0259\u015fm\u0259kdir, eyni zamanda burada Tanr\u0131 \u00fcz tutulas\u0131 \u0259n son \u00fcnvand\u0131r: “Kimdi o g\u00f6yd\u0259n \u015f\u0131\u011f\u0131yan?!\/D\u00fcnya dolub i\u015f\u0131\u011f\u0131ynan.\/B\u0259lk\u0259 d\u0259, g\u00f6y qur\u015fa\u011f\u0131ynan\/D\u00fc\u015f\u00fcb Allah \u00f6z\u00fc g\u0259lir”.<\/p>\n

Milli m\u00fcst\u0259qillik ill\u0259rind\u0259n ba\u015flayaraq ba\u015flanan “izm” axtar\u0131c\u0131l\u0131\u011f\u0131, bu y\u00f6nd\u0259 m\u00f6vcud n\u0259z\u0259riyy\u0259 v\u0259 postulatlar poetik d\u00fc\u015f\u00fcnc\u0259 sferam\u0131za da yenid\u0259n bax\u0131\u015f\u0131 aktualland\u0131rark\u0259n R.R\u00f6v\u015f\u0259nin \u015feirl\u0259ri milli modernizmin n\u00fcmun\u0259l\u0259ri olaraq s\u0259ciyy\u0259l\u0259ndirilm\u0259y\u0259 daha \u00e7ox\u00a0 imkan verir. XX \u0259srin \u0259vv\u0259ll\u0259rind\u0259 poetik t\u0259f\u0259kk\u00fcrd\u0259 m\u00fc\u0259yy\u0259n r\u00fc\u015feyml\u0259ri, \u0259lam\u0259tl\u0259ri olan, 60-c\u0131 ill\u0259rd\u0259n sonra is\u0259 \u0259d\u0259bi fikird\u0259 \u0259hat\u0259lilik qazanan modernizm 80-ci ill\u0259rin sonlar\u0131ndan art\u0131q imkanlar\u0131n\u0131 realiz\u0259 etm\u0259y\u0259, m\u0259tnl\u0259r\u0259 g\u0259tirilm\u0259y\u0259 ba\u015flam\u0131\u015fd\u0131. Bu, ilk n\u00f6vb\u0259d\u0259, yarad\u0131c\u0131 insanda f\u0259rdi \u00f6z\u00fcn\u00fcd\u0259rk amilinin g\u00fccl\u0259nm\u0259si, d\u00fcnyan\u0131 v\u0259 insan\u0131 g\u00f6rm\u0259 buca\u011f\u0131n\u0131n d\u0259yi\u015fm\u0259si v\u0259 yeni d\u0259y\u0259rl\u0259r sistemi kontekstind\u0259 d\u00fc\u015f\u00fcnc\u0259 axtar\u0131\u015f\u0131 il\u0259 \u0259laq\u0259dar idi.\u00a0 \u00c7\u00fcnki burada \u0259vv\u0259lki n\u0259sil \u015fairl\u0259rd\u0259n f\u0259rqli olaraq qabaran \u00fcmum\u0259n insan ideyas\u0131 deyil, f\u0259rdi insan maraqlar\u0131, onun ya\u015fant\u0131lar\u0131 idi. Bu ill\u0259r \u015ferind\u0259 apar\u0131c\u0131 olan\u00a0 dekadans \u0259hval-ruhiyy\u0259sinin m\u00f6vcudlu\u011fu da d\u00fcnyan\u0131 \u00f6z\u00fcnd\u0259 k\u0259\u015ff etm\u0259si v\u0259 \u00f6z\u00fcnd\u0259n ke\u00e7ir\u0259r\u0259k s\u0259rgil\u0259nm\u0259sind\u0259 idi, “d\u00fcnya insana a\u00e7\u0131l\u0131r, insana s\u0131\u011f\u0131r, insan d\u00fcnyaya \u00e7evrilir”di (F.Kafka). M\u0259s\u0259l\u0259n, sovet d\u00f6vr\u00fc Az\u0259rbaycan poeziyas\u0131n\u0131n 60-c\u0131 ill\u0259rd\u0259 \u0259rs\u0259y\u0259 g\u0259l\u0259n yeni dal\u011fas\u0131 s\u0259rb\u0259st \u015ferin meydan\u0131n\u0131 geni\u015fl\u0259ndirm\u0259kl\u0259, h\u0259m d\u0259 bunu yaln\u0131z v\u0259zn, forma m\u0259nas\u0131nda deyil, h\u0259m d\u0259 estetik m\u00fcnd\u0259ric\u0259 qazand\u0131rmaq, fikir s\u0259rb\u0259stliyin\u0259 yol a\u00e7maq\u00a0 m\u0259nas\u0131nda etm\u0259kl\u0259 se\u00e7il\u0259 bildil\u0259r. Sonradan, \u0130nsan\u0131 poetik m\u0259tnin m\u0259rk\u0259zin\u0259 g\u0259tirib ona yeni \u00e7alarl\u0131q verm\u0259k kontekstind\u0259 milli \u015ferimiz b\u0259dii-estetik z\u0259mini m\u0259hz, az \u00f6nc\u0259nin poetik t\u0259cr\u00fcb\u0259sind\u0259n, ke\u00e7ib g\u0259ldiyi 60-c\u0131 ill\u0259r \u015ferind\u0259n alsa da bu art\u0131q f\u0259rdi duy\u011fular\u0131n \u0259sirin\u0259 \u00e7evrilmi\u015f, lirik subyektin \u015f\u0259xsi ba\u015flan\u011f\u0131c\u0131ndan \u00e7\u0131x\u0131\u015f ed\u0259n, inikas formalar\u0131 v\u0259 t\u0259zah\u00fcr \u015f\u0259kill\u0259ri ba\u015fqa olan f\u0259rqli bir poeziya idi. Bunu \u015fairin h\u0259tta sevgiy\u0259 h\u0259sr olunmu\u015f \u015feirl\u0259rind\u0259 bel\u0259 d\u00f6r\u00fcb duymamaq m\u00fcmk\u00fcns\u00fcz idi:
\nBu yalan \u00f6mr\u00fcmd\u0259<\/em><\/p>\n

g\u00f6r\u0259n s\u0259n n\u0259s\u0259n?<\/em><\/p>\n

B\u0259lk\u0259 he\u00e7 sevgilim deyils\u0259n m\u0259nim?<\/em><\/p>\n

Anamsan,<\/em><\/p>\n

bac\u0131msan,<\/em><\/p>\n

n\u0259n\u0259ms\u0259n, n\u0259s\u0259n?<\/em><\/p>\n

Birc\u0259 allah bilir, n\u0259yims\u0259n m\u0259nim.<\/em><\/p>\n

Ramiz R\u00f6v\u015f\u0259nin sevgi m\u00f6vzusunda yazd\u0131\u011f\u0131 \u015feirl\u0259rd\u0259 qad\u0131n d\u00fcnyas\u0131n\u0131n, qad\u0131n ya\u015fam\u0131n\u0131n ekzistensiyas\u0131 yarad\u0131l\u0131r, i\u00e7 m\u0259qamlara diqq\u0259t y\u00f6n\u0259ltm\u0259kl\u0259 onun m\u0259n\u0259vi sars\u0131nt\u0131 v\u0259 ya\u015fam\u0131 m\u0259n\u0259vi-psixoloji m\u00fcst\u0259viy\u0259 \u00e7\u0131xard\u0131l\u0131rd\u0131. “Ayr\u0131l\u0131q”, “Qarapaltarl\u0131 qad\u0131n”,\u00a0 “Bu g\u00fczg\u00fcy\u0259 bir vaxt qo\u015fa baxard\u0131q”, “Sevim d\u00f6n\u0259-d\u00f6n\u0259 s\u0259ni”… bu \u015feirl\u0259rin h\u0259r birind\u0259 f\u0259rdi-f\u0259rqi i\u00e7 duyumlar\u0131n m\u0259nalanmas\u0131 var, qad\u0131n obraz\u0131n\u0131n ki\u015fi n\u0259z\u0259rl\u0259rind\u0259n m\u00f6vcud d\u0259rinlik v\u0259\u00a0 ger\u00e7\u0259klikd\u0259, poetik g\u00fccd\u0259 a\u00e7\u0131m\u0131, qavram\u0131, h\u0259ssas duyumu var. Poeziyan\u0131n “s\u0259s” d\u00f6vr\u00fc \u00f6z apologiyas\u0131n\u0131 ya\u015fay\u0131r, d\u00fc\u015f\u00fcnc\u0259nin d\u0259rinliyi art\u0131r, p\u0131\u00e7\u0131lt\u0131ya eni\u015f \u00f6n\u0259 ke\u00e7irdi:<\/p>\n

Ki\u015fil\u0259r bir olmur atam balas\u0131<\/em><\/p>\n

Qorxa\u011f\u0131 var, igidi var.<\/em><\/p>\n

Amma h\u0259r ki\u015finin \u00f6l\u0259nd\u0259n sonra<\/em><\/p>\n

Q\u0259bri \u00fcstd\u0259 a\u011flama\u011fa<\/em><\/p>\n

Bir qara paltarl\u0131 g\u00f6z\u0259l bir qad\u0131na \u00fcmidi var.<\/em><\/p>\n

Sevgi \u015feirl\u0259rind\u0259 R.R\u00f6v\u015f\u0259n duy\u011fular\u0131 f\u0259rqli m\u00fcst\u0259vid\u0259 b\u0259dii idrak\u0131n predmetin\u0259 c\u0259lb edir, m\u0259lum m\u00f6vzulara m\u00fcnasib\u0259td\u0259 m\u00f6vcud d\u00fcnyag\u00f6r\u00fc\u015f\u00fcn t\u0259z\u0259l\u0259nm\u0259sin\u0259 nail olurdu. \u0130nsan d\u00fc\u015f\u00fcnc\u0259sini oynatma\u011fa \u00e7al\u0131\u015fan \u015fair d\u00fc\u015f\u00fcnc\u0259l\u0259rini antitezalar, biri dig\u0259rini inkar ed\u0259n fikirl\u0259r, b\u0259dii ifad\u0259 vasit\u0259l\u0259ri \u00fcz\u0259rind\u0259 qurmaqla \u015f\u00fcuralt\u0131n\u0131 h\u0259r\u0259k\u0259t\u0259 g\u0259tirm\u0259y\u0259 \u00e7al\u0131\u015f\u0131r, oxucunun beynini sentimentall\u0131qla s\u00fcsl\u0259nmi\u015f d\u0259rin i\u015f ya\u015famlar\u0131n\u0131n \u00e7\u00f6z\u00fcm\u00fc il\u0259 m\u0259\u015f\u011ful edirdi. Bir \u015ferin n\u00fcmun\u0259sind\u0259 diqq\u0259t yetir\u0259k:<\/p>\n

G\u00f6r bir n\u0259 tez isini\u015fdik<\/em><\/p>\n

Havalar soyuyanda.<\/em><\/p>\n

Adamlar qal\u0131n geyinib,<\/em><\/p>\n

A\u011faclar soyunanda.<\/em><\/p>\n

Sonrak\u0131 misralarda sevgi etiraf\u0131n\u0131n \u0259n g\u00f6z\u0259l, \u0259n munis formada\u00a0 t\u0259qdimi, t\u0259bi\u0259tin sevgi ba\u015flan\u011f\u0131c\u0131n\u0131 qoruma sadiqliyi, duyumun yadda\u015f\u0131n\u0131 t\u0259rp\u0259d\u0259n ruh hal\u0131:<\/p>\n

Qar alt\u0131ndan ba\u015f qald\u0131ran<\/em><\/p>\n

\u00c7i\u00e7\u0259kt\u0259k sevdim s\u0259ni.<\/em><\/p>\n

\u0130stisin\u0259 q\u0131z\u0131nd\u0131\u011f\u0131m<\/em><\/p>\n

Ocaqt\u0259k sevdim s\u0259ni.<\/em><\/p>\n

V\u0259 daha sonra yen\u0259 peyda olan antiteza – \u00e7oxplanl\u0131 d\u00fc\u015f\u00fcnc\u0259 qat\u0131na eni\u015f, biz\u0259 tan\u0131\u015f epitetl\u0259rin qeyri-adi m\u0259nada t\u0259qdimi, poetik m\u00fckalim\u0259, ke\u00e7idl\u0259rin g\u00fccl\u00fc m\u0259ntiqi v\u0259 g\u00f6zl\u0259nilm\u0259z sonluq… Bu art\u0131q h\u0259m\u0259n tan\u0131y\u0131b sevdiyimiz, sevib \u00a0\u00f6yr\u0259\u015fdiyimiz R.R\u00f6v\u015f\u0259n \u00fcslubu, R.R\u00f6v\u015f\u0259n rakursudur.<\/p>\n

Qorxa-qorxa bu s\u00fcbh \u00e7a\u011f\u0131<\/em><\/p>\n

N\u0259 bax\u0131rsan g\u00f6y\u0259 s\u0259n?<\/em><\/p>\n

Deyirs\u0259n ki, g\u00fcn\u0259\u015f \u00e7\u0131x\u0131b,<\/em><\/p>\n

Qar \u0259riyir dey\u0259s\u0259n\u2026<\/em><\/p>\n

H\u0259mi\u015f\u0259 t\u0259k v\u0259 t\u0259nha g\u00f6r\u00fcn\u0259n \u015fairin yeni minillikd\u0259 yazd\u0131\u011f\u0131 \u015feirl\u0259rd\u0259 d\u0259 eyni ya\u015fam simvolikas\u0131 ovqat g\u00f6st\u0259ricisi oldu. V\u0259 bu t\u0259klik ovqat\u0131 \u00e7a\u011f\u0131n probleml\u0259rind\u0259n – b\u00fct\u00fcn d\u00fcnya s\u0259viyy\u0259sind\u0259 artan xaotik v\u0259 dramatik olaylardan n\u0259\u015f\u0259t tapsa da, \u015f\u0259xsi hissl\u0259rin – sevgi, m\u0259n\u0259vi yaln\u0131zl\u0131q amilinin ba\u015fl\u0131ca n\u0259d\u0259ni olaraq s\u0259ciyy\u0259vilik qazan\u0131rlar. Bu \u015feirl\u0259rd\u0259 art\u0131q ya\u015f\u0131n g\u0259tirdiyi yor\u011funluq, \u00f6mr\u00fcn faniliyind\u0259n do\u011fan t\u0259klik hissi qabar\u0131qla\u015f\u0131r, \u00f6mr\u00fcn ah\u0131l \u00e7a\u011flar\u0131n\u0131 ya\u015fayan \u015fairin i\u00e7 t\u0259lat\u00fcml\u0259ri s\u0259rgil\u0259nir. Son ill\u0259rin q\u0259l\u0259m m\u0259hsulu olan “Ay bu y\u00fck\u00fcn yiy\u0259si” \u015ferind\u0259 \u015fair yaz\u0131r:<\/p>\n

M\u0259n – karvan\u0131 talanm\u0131\u015f<\/em><\/p>\n

t\u0259nha, yor\u011fun bir d\u0259v\u0259.<\/em><\/p>\n

D\u00f6rd t\u0259r\u0259fi b\u00fcr\u00fcy\u0259n toz-duman\u0131n i\u00e7ind\u0259<\/em><\/p>\n

Ba\u015f g\u00f6t\u00fcr\u00fcb gedir\u0259m<\/em><\/p>\n

a\u011fl\u0131m k\u0259s\u0259n t\u0259r\u0259f\u0259.<\/em><\/p>\n

 <\/p>\n

Y\u00fck alt\u0131nda g\u00f6yn\u0259yir k\u00fcr\u0259yimin qabar\u0131,<\/em><\/p>\n

Y\u00fck alt\u0131nda t\u0259ngiyir h\u0259r add\u0131mda n\u0259f\u0259sim.<\/em><\/p>\n

N\u0259 atma\u011fa q\u0131y\u0131ram,<\/em><\/p>\n

n\u0259 g\u00fcc\u00fcm var – apar\u0131m,<\/em><\/p>\n

Hayandasan, di g\u0259l \u00e7\u0131x, ay bu y\u00fck\u00fcn yiy\u0259si!..<\/em><\/p>\n

Ramiz R\u00f6v\u015f\u0259nin 2015-ci ild\u0259 “\u018fd\u0259biyyat q\u0259zeti”nd\u0259 \u00e7ap olunan “Qoy he\u00e7 k\u0259s bilm\u0259sin” \u015feri d\u0259 poetik ovqat bax\u0131m\u0131ndan “Ay bu y\u00fck\u00fcn yiy\u0259si” \u015ferinin davam\u0131 idi. Bu poeziyada “g\u00fcn\u0259\u015f”in q\u00fcrubu, \u0259v\u0259zind\u0259 hakim olan m\u0259n\u0259vi-ruhsal b\u0259dbinlik insan \u00f6mr\u00fcn\u00fcn he\u00e7liy\u0259, bo\u015flu\u011fa yuvarlanmas\u0131 kimi\u00a0 simvolik\u00a0 m\u0259na k\u0259sb edir.\u00a0 \u015eeird\u0259 i\u00e7ini qaranl\u0131q, t\u0259klik b\u00fcr\u00fcy\u0259n insan\u0131n \u0259hval\u0131 u\u011furlu \u0259ksini tap\u0131r, buradak\u0131 b\u0259dii ovqat\u0131 t\u0259\u015fkil ed\u0259n \u00e7\u00f6k\u00fc\u015f h\u0259yat\u0131n bozlu\u011funu ya\u015fayan, sabah\u0131na he\u00e7 bir \u00fcmidi qalmayan ruhun \u00e7\u0131x\u0131lmazl\u0131q duy\u011fusundan n\u0259\u015f\u0259t tap\u0131r v\u0259 onun “getm\u0259k vaxt\u0131d\u0131r”, –\u00a0 deyib fanilik \u00f6n\u00fcnd\u0259 t\u0259rksilah olmaqdan ba\u015fqa \u00e7ar\u0259si qalm\u0131r.<\/p>\n

Bu da \u00f6t\u0259n g\u00fcn\u00fcn batan g\u00fcn\u0259\u015fi,<\/em><\/p>\n

Ba\u015f\u0131m\u0131n \u00fcst\u00fcnd\u0259 bulud qaral\u0131r.<\/em><\/p>\n

Daha \u00f6mr\u00fcm\u0259 d\u0259 qaranl\u0131q d\u00fc\u015f\u00fcr,<\/em><\/p>\n

\u00dcr\u0259kd\u0259 sonuncu \u00fcmid qaral\u0131r.<\/em><\/p>\n

 <\/p>\n

Daha qaranl\u0131\u011fa qar\u0131\u015f\u0131b tamam<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ham\u0131n\u0131n g\u00f6z\u00fcnd\u0259n itm\u0259k vaxt\u0131d\u0131.<\/em><\/p>\n

Daha bu qap\u0131n\u0131 lap yava\u015fcadan<\/em><\/p>\n

A\u00e7\u0131b, kirimi\u015fc\u0259 getm\u0259k vaxt\u0131d\u0131.\u00a0<\/em><\/p>\n

Ramiz R\u00f6v\u015f\u0259n m\u00fcst\u0259qillik d\u00f6vr\u00fc poeziyam\u0131z\u0131n axtar\u0131\u015f \u0259zmi v\u0259 yenilikl\u0259rini \u00f6z yarad\u0131c\u0131l\u0131\u011f\u0131nda u\u011furla ehtiva ed\u0259n \u015fairl\u0259rimizd\u0259ndir v\u0259 yaratd\u0131\u011f\u0131 m\u0259tnl\u0259rin b\u0259dii m\u0259ziyy\u0259ti onun zamanla \u0259b\u0259di yolda\u015fl\u0131q ed\u0259c\u0259yin\u0259 z\u0259man\u0259t verir.<\/p>\n

Az\u0259rbaycan.media<\/b><\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Elnar\u0259 AK\u0130MOVA Ramiz R\u00f6v\u015f\u0259n \u00e7a\u011fda\u015f Az\u0259rbaycan \u015feirinin s\u00fct\u00fcnlar\u0131ndan biridir. \u018fd\u0259biyyata g\u0259ldiyi 70-ci ill\u0259rd\u0259n etibar\u0259n poeziyam\u0131zda f\u0259rqli imza, f\u0259rqli n\u0259f\u0259s kimi do\u011fulan, milli Az\u0259rbaycan \u015ferinin y\u00f6n\u00fcn\u00fc d\u0259yi\u015f\u0259n Ramiz R\u00f6v\u015f\u0259n poetik n\u0259f\u0259sini… <\/p>\n","protected":false},"author":4,"featured_media":62651,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[63,1],"tags":[],"class_list":["post-63208","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-dbiyyat","category-manset"],"_links":{"self":[{"href":"https:\/\/azerbaycan.media\/index.php?rest_route=\/wp\/v2\/posts\/63208","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/azerbaycan.media\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/azerbaycan.media\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/azerbaycan.media\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/azerbaycan.media\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=63208"}],"version-history":[{"count":4,"href":"https:\/\/azerbaycan.media\/index.php?rest_route=\/wp\/v2\/posts\/63208\/revisions"}],"predecessor-version":[{"id":63344,"href":"https:\/\/azerbaycan.media\/index.php?rest_route=\/wp\/v2\/posts\/63208\/revisions\/63344"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/azerbaycan.media\/index.php?rest_route=\/wp\/v2\/media\/62651"}],"wp:attachment":[{"href":"https:\/\/azerbaycan.media\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=63208"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/azerbaycan.media\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=63208"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/azerbaycan.media\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=63208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}