Kelpin Uyghurliri Téxi Éytip Tügitelmigen Bir Riwayet Muhemmed Baghrash


Kelpin Uyghurliri Téxi Éytip Tügitelmigen Bir Riwayet Muhemmed Baghrash

 

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2004-yili öktebirde bayin’gholin mongghul aptonom oblastliq edebiyat-sen’etchiler birleshmisi bilen chaqiliq nahiyisi birliship chaqiliq nahiyiside yazghuchi sulayman abdurehimge ton yépish we uning yéqinqi yillarda élan qilghan romanlirini muhakime qilish, shundaqla ösmür qiz liujié yéqinda neshir qildurghan ” tash adem” namliq chöchek powéstining tarqitish murasimigha qatnishish sheripige muyesser bolduq. Yighin katta we netijilik boldi. Yighin ariliqida chaqiliq nahiyilik muzéyni körduq.
Muzéy kölem jehette hazirche téxi kichik bolsimu, bashqurulushidiki mes’uliyetchanliq we estayidilliq bizde jkp chaqiliq nahiyilik komitéti we xelq hökümitining, chaqiliq nahiyilik medeniyet idarisining yerlik asaretiqilerni we tarixiy medeniyet izlirini qoghdash iradisi hem ishligen xizmetlirige bolghan qayilliq we hörmet tuyghumizni ashurghan bolsa, muzéydiki nechche ming yilliq parlaq kroran-cherchen-lop-miran uyghur uygharliqigha(medeniyitige) tanuq(guwah) bolup turghan herxil tépilmilar, bolupmu yéqinda bayqalghan, qiyas qilinishiche, tarixi alemge dangliq “kroran güzili”dinmu uzunraq bolushi mümkin bolghan üchköwre(quruq jeset) bizning tesewwurimizni bekmu uzaq qedimiy rozighargha yéteklep, bügünki künde dunya we junggoning tarix we uygharliq sahesidiki alimlarni tang qaldurghan büyük kroran–lop -cherchen-miran uygharining yaratquchiliri bolmish kroran uyghurliri we ularning eqil-parasiti, yashash iradisige taghdek pexirlinish tuyghusi, shundaqla yene ularning kéyinki halaketlik teqdirige bolghan azabliq échinish tuyghusini oyghatti…
teqdir xalisa bext-saadet, ajayip quwnaq hayat, güllinish ata qilidu, xalisa herxil xatalarni seweb qilip ashu gülligen el-ulusni bir kishan (deqiqe)dila halaket opqanigha tashlap, ademlerning xatasini jazalaydu!
Éytilishiche, zamaniy ewwelde yer yüzide ajayib büyük medeniyet, parlaq güllinish, choghyalin (ajayib katta) tereqqiyat dewri bolghaniken.kéyin(texminen 10-12ming yillar ilgiri) “topan balasi” bilen insaniyetning nechche milyonyil dawamida yaratqan parlaq medeniyiti bir kéchidila weyran bolup, nahayiti az sandiki janliqlar we insane uruqliridin bashqa pütkül insan we jimiki barliq “topan”gha gherq bolup, échinishliq halak bolghan we izsiz yoqalghan iken…kömenli (sirliq) we küch-küsünlik(qudretlik), tegsiz opqandek siri we chirayini insaniyetke körsetkili unimay, hazirqi zaman ademlirining yürek-baghrini örtep, ularni türlük-tümen qiyas, oylinish we izdinishler bilen qiynawatqan teklimakan qumluqi tektide möküp yatqan ajayib büyük uyghar, katta we batur sheherler hemde shularni yaratqan örki(ésil), erbuzi(jesur) we alip(ghalip) echü-oghushlirimiz(bowa-ejdadlirimiz) bügündin 1600, 1700 yillar ilgiri ashu topan balasidek dehshetlik qum topani ekelgen halaketlik teqdirning qurbani bolghaniken…
tarixni qattiq mes’uliyetchanliq tuyghusi we pakiz niyet bilen tüpkerlep(tetqiq qilip) echü-oghushlirimizning izini izdesh, bésip ötken yollirini sinlash, ularning jem’iyet, tebiet, ékologiye, yashash, tereqqiyat, mewjudluq… anglirini, pozitsiye-munasiwetlirini öginish, bilish, angqirish bizning shereblik hem sawabliq burchimiz, elwette!bu jeryan bizge gahida chongqur échinish we azab tuyghusi berse, yene gézi kelgende bizge cheksiz xushalliq, kufer(ghurur), qedir-qimmet, söyünüsh, ishench hem küch-qudret ata qilidu! Eng muhimi, biz bügünki rozighar ademliri tejribe, örnek we sawaqqa ige bolimiz hem yene öz nöwitide insaniyetning, milletning ötkende bashtin kechürgen halaketlik teqdirining bizning qilip tashlighan qilmaghulirimiz(xataliq-sewenliklirimiz) yeni milliy, ijtimaiy exlaq tegrinchi(muhiti) we tebiet ékologiye tegrinchini buzush sewebi bilen qayta tekrarlinip qalmasliqi üchündur! Ashu dehshetlik qismetning yene tekrarlinip qélishidin yaratquchi panah bersun!
Etrapimizni qorshap yatqan ashu mung basqan payansiz qumluq, éghir tinip yatqan bayawan, teshwishlik ingrap-pichirlap halini éytiwatqan halsiz, nimjan ghérib toghraqlarnémedémekchidu?
Bizge qaysi qismet, qaysi ötkü-ketkü we kelgülüklerdin hékayet qiliwatqandu-he? Ularning tilini angliyalisang, ularning sanga sözlep bériwatqan heywetlik, debdebilik, katta, mongadinich(heyran qalarliq) ötkür dastan-qisselirini, hesretlik-nadametlik kechmishliri toghrisidiki ökünüsh, derd – hesretlirini, bizge qarap ümtülüp, quliqimizgha, yaq, yürikimizge quymaqchi bolghan ügüt – nesihetlirini, istek, oy we armanlirini angqirip, ular bilen quchaqliship, uning baghrigha mengzini yéqip toyup-toyup derdlisheliseng kashki? Hessiney, bu mumkinmu?
Shu dorem chaqiliq, bashlop(korla lop) we korlida ötküzgen sekkiz-on künüm ashundaq éghir we iztirapliq xiyallar qaynimida gah leylidi, gah chökti… öpchöremde boluwatqan külke-chaqchaqlar, oyun-tamashalar manga peqet sirttin tesir qilatti.men ulargha kéchikip inkas qayturattim. Ichimde bolsa tegsiz xiyal. Közlirim ashu sarghuch qumluq, ashu bozarghan bayawan we ashu qiynalghan chékiside qétip qalghan…bu tegrinch (muhit) shu qeder timtas, shuqeder choghyalin (ajayip katta), shu qeder qorqunchluq we shu qeder büyük we hem ulughwar idi. Lékin bu zéminning ashu cheksizliki, ajayip katta we qorqunchluqliqi, büyük we ulughwarliqi, toymas we küch-qudretlikliki del uning yüksekliki, büyükliki, güzelliki we tartishchanliqi idi! U ashu beheywet selteneti bilen, ashu herqandaq tinaliq(hayatliq)ni bir kishan (deqiqe) ichide “hap”qilip yutup tashlaydighan qatirqatigh(dehshetlik) we qatiryawlagh(wehimilik), biwapa körünch(menzire)i bilen shuqeder kerem(séxiy) hem qiziqarliq we tartimchan idi. Uning baghrida depsep turup sen özüngni gah hech erzimes birtal qogh(tozan ) sanisang, gah uning ashu kerik ( cheksiz ) we qadarqashlagh ( sür-heywetlik)turqidin söyünüp quwinarsen. Chünki del mushu yerler bowa-ejdadlirimiz yaralghan, kökligen, yashnighan, bizni baqqan, östürgen, awutqan, yashnatqan bahadir – ezimet yerlerdur!
Ey chalang ( yalingach ) yer, qarqagh (qaqas ) yer, altun yérim qutlagh ( bext) yer, tomurdeki qanim yer, baghrimdeki janim yer… echülerning ( ejdadlarning ) izi bar, ine ( anilar ) lerning yüzi bar, ketkenlerning sözi bar, chintemensen ( göher ) tarim yer.
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tarim dégen yeling (shamalliq ) yeru – yeling yer, böksekingni ( baghringni ) esin (shamal ) bolup quchsamchu, sening körklüg ( güzel ) kökshin ( köküsh ) kerk (cheksiz ) kökingde chaghri ( lachin ) bolup qanat qaqip uchsamchu… __ (qedimki lop xelq qoshiqi ) din bir kezde, öpchöremdiki ademlerning __er-ayal, yash-qérilarning gep qilghandiki tawush-timbiri,teleppuzi, héssiyat ipadilesh mimikisi (chiray ipadisi ), shéwisi…birdinla déqqitimni tartti. Ular bashlopluq ( korla lopluq ) chaqiliq we cherchenlik kishiler idi. Bir chaghlarda shopurliq qilip yürgen künlirimde bashlop (korla lop __ hazirqi lopnur nahiyisi)ning aqsupa, qarchugha, tarim, döngqotan… deydighan yerlirige mashina heydep barghinimda shu yer ademlirining tüs – qiyapiti, sözligendiki shéwe – teleppuzi we külke – chaqchaqliridiki bir shérin, tartimliq özgichilikler méni shundaq esrük ( mest ) qilghanidi. Shundaq, xatire waraqlirim bir–birlep örülüp qanatliq oylirim qiziqish we izdinish isteklirimni yüdiginiche tepekkur we tesewwur wadisigha qarap uchti. U wadida, ilgiri manga qattiq tesir qilghan, méni tolimu qiziqturghan, bekmu heyran qaldurghan bir yurtning ademliri toghrisidiki (kéyinki chaghlarda untulup yoshurun éngimning bulung–puchqaqlirida möküp turghan)bir börtün (mejhul)menzire bashta bir dane qogh-qichmaq(zerriche)bolup, kéyin bolsa bara-bara büyüp – yarqinlap, köngül közngüm(eynikim)de balqidi.men közngümde, shu künlerde téléwizorda kino körgen kebiy kichikkine, lékin tolimu tartimchan bir yurtni we shu yerde yashap turghan bir elkün -qewmni kördüm.. Bu yurt kelpin idi. Bu elkün-qewm bügün ashu yurtta yashawatqan kelpin uyghurliri idi… heyranmen …! Men qandaqsige chaqiliqta turup, ming kilométirdin artuq yiraqliqtiki kelpin we kelpinni oylap qaldim?
Bu chaghdiki tuyghum shu qeder sirliq, angqirghusiz, ushtumtut qaram we qiziqarliq idiki, kelpinwe kelpinlikler bilen hechqandaq xususiy baghlinishi yoq, hetta kelpin, dégen bu yerni téxiche körüpmu baqmighan( lékin kelpinlikler bilen tola arilashqan) mendek bir yaqa yurtluqqa nisbeten éytqanda, bundaq tuyghu tolimu tasaddipiy we chüshiniksiz idi. Gah körünüp, gah yiraqlap méni éziqturuwatqan ashu biwash, asaw we tutuq bermeywatqan, lékin özige ram qilip, tartip, körünmes qil bilen barliqimni özige baghliwélip, öz erki taman yéteklep kétiwatqan ashu sirliq sezgü we azdurghuch tuyghulirimdin törelgen örtlüg-yalqunluq xiyalimgha öz erkimni biraqla tapshuruwettim we chaqiliqtin ürümchige qaytip üchinchi künila toptoghra kelpin’ge qarap jönidim.ashu sirliq yurtqa tézrek yétip bérishqa aldirap nepsim qisildi, qaraqim qatti…ichimde peqet birla soal:“bügunki kelpin uyghurliri bilen chaqiliq, bashlop, ayaghlop(xoten lop), cherchen uyghurlirining qandaq alaqisi bar-zadi? Ular némisi bilendur bir-biri bilen shu qeder yéqin bilinidu? Némishqa?…” kelpin achalda azna bazar idi. Alqanchilik bu öteng bazar menggü bésiqmas tirikchilik ghewghasidin titreytti. Uning asmini bazarchilarning ayighidin kötürülgen qoyuq topa-changdin bozarghanidi. Bu bazarda yashashning birqeder addiy we töwen telipigila jawab béreleydighan élim-sétim, nan, ash-chöp, türi intayin az köktat(bu yerning chamghuri bek dangliq, qozining quyruqidek yumshaq we tatliq pishidu. Yéqinqi yillardin buyan ürumchi kochilirida “kelpin chamghuri”dégen nam bilen sétiliwatidu. Bahasi yilséri ösüp barmaqta) we méwe-chéwe, erzan bahaliq saxta ayagh, lata-pite hemde shu yerning emeliy sétiwélish küchige köre intayin öre bahadiki gosh-yagh, at-ulagh, toxu-tüman we nachar sanaet malliri…élim-sétimi qizighanidi. Ozayidin qarighanda, bu yer ademlirining qoli qisqa bolghach yashash telipimu töwen idi. Bash-közini topa basqan, yashash japasidin qurup-qaghjirighan bu ademler shu qeder qanaetchan, shu qeder könük, shu qeder insabliq, shu qeder yawash körünetti. Lékin méni ularning ashu ehwalidimu yene hemme némisi tel, bay-parawan, döletmen ademlerdek bighem, tölek, arim-barim(xushxuy, xushchaqchaq)liqi tang qaldurdi. Men turupla“kelpinlikler ghem-qayghuni bilmise kérek”dégenni oylap qaldim. Köz aldimdiki qash-kirpikliri tökülüp turghan, erliri best-qametlik, saqal-burutliri oxshighan, qiz-chokanliri ghunche boy, gülbeden, hemmisila dégidek shu qeder chéchen, tolimu sözmen, tolimu eltek, tolimu türgün hem quwnaq kelgen we chang-tozan arisida boghsup turghan bu ademler shu tapta manga goya topa-tuman arisida kömülüp yétipmu julalap-charaqlap turghan bir och inju-merwayit we göherdek körünüp ketti.
Éniqki, öz béshidin tola éghir-qattiq künlerni ötküzgen, hetta ölüm aghzidin qutulup qalghan ademlerla we shundaq yashashni bilidighan, yashashni yürikidin söyidighan hemde eng aldi bilen özige, andin özining etisige, kélechikige ishinidighan, yashash dégenning, ömür dégenning, waqit-ötku dégenning esliy tomurini toluqi bilen angqiralighan insane we elkün-qewmla yashash kishanlirini(deqiqilirini) ashundaq qedirlep yashashni bilidu. Ular üchün “ölümdin bashqisi tamasha”!(elwette bu yerdiki “tamasha”bir küchlük yashash öz qunuqi –rohining yashash soqqiliri we külpetlirige tizlanmasliqni körsitidu)! Ular üchun yashashning herbir kishani(deqiqisi) éghir, qattiq bolsimu bayram! Bundaq yashash peqet ichi küchlük millet-ulus we ichi küchlük erkeklerningla qolidin kélidu, elwette! Men shu tapta topa-changgha kömülgen bu bazarchilarning arisida qistilip, urulup-soqulup yürüp özümni miladi 2004-yili bash küzdiki “achal”atliq bir kichik bazarda emes, eksiche, miladi 400-yilining aldi-arqisidiki kroran elide, yashash üchun, köklesh üchün, mewjudluq üchün kökrikini kérip, ajun we rozighar(dunya we dewr) ning xirisliri bilen jansüre élishiwatqan kroran uyghurliri arisida körgendek boldum!
Kelpin uyghurliridiki hemme we hemmila tereptin__ qeddi-qamet, chiray-turq, qash-köz, saqal-burut, söz-shéwe, teleppuz we ahang…lirida, ularning ashu arslandek, kökböridek bequwwet hem kélishken köwtüngi(wujudi, téni, qamiti)de yulqunup, öridep turghan bir xil hem tomuri tolimu tirenlikte hem yene tolimu yarqin bolup, yüzelikte chapchip turghan eqil-paraset, chéchenlik, chustluq, cheperlik, jesurluq, chidam, jür’et, küfer-küwenj(kébir we ghurur), uyushqaqliq hem yene özidin ozup ketken’ge chidimaydighan, sherep-ghurur we ataq tuyghusi küchlük hem daghwazraq kélidighan, urushqaq we yene gepni tola ushshaqlaydighan, gézi kelse öz atisighila emes, padshahqimu gep yanduruwéridighan, utturghinigha ten bermeydighan, öch-qisas üchun herqandaq qaramliq we bedel töleshtin ayanmaydighan hem yaxshi hem yaman, telwe-tetür, qiziqqan we chidimas, ögürchi(maxtanchaq), yerdashchi(yurtwaz)… qatarliq kelpinche mehelliwi tözlik(tégi, xaraktér) peqet intayin yaman yashash muhitida yashap kelgen ademlerdila bolidighan bir xil milliy we insaniy iru-belgilerdur. Bundaq belgilerni ulargha ashundaq yashashqa qiyin bolghan alahide hawa bilen alahide yashash muhitila béreleytti. Yashash muhiti shu yer kishilirining tashqi tüs-jusunidin tartip oy-xiyali, tepekkur shekli, tepekkur mijez-xulqi we qiliqlinishlirining shekillinishige mutleq déyelmisemmu xélila küch béridu. Shunga esliy bir nesil-yiltizdin kök-tomuri bir bolghan elkün-ulus ademlirining yuqiriqi mehelliwi belgiliri jaylashqan yashaghu-yerlirining, tupraq, hawa, yémek-ichmek, tirikchilik yoli we imkaniyetlirining oxshimasliqi tüpeylidin özara xélila zor perqlinidu. Men ana makanimizning xélila köp yerini arilap yürgen bir shopur we kespiy yazghuchi bolush süpitim bilen bu perqlerni herqachan hés qilimen we bu qétim kelpin’ge qedem qoyghinimdin kéyin téximu chongqur hés qildim.
Yéngidin yéngi we chapqur xiyallar ilkide awarimen. Achalning shawqunluq “déhqqan baziri”da égiz-pes dessep, hangwaqtidek öpchöremge alanglap kétiwatimen. Bir kemde anche yiraq bolmighan bir yerdin dutar neghmisi anglandi. Qarisam, bir chettiki puchuq tamning aldigha bir top alaman topliniptu. Bir bésip, bir-bir bésip ulargha yéqinlashtim we top arilap boynumni sozdum.
Sériq saqal, kök köz, öngi aq, sim burut bir yigit tam tüwide zongziyip olturup dutar chélip naxsha éytiwétiptu. Uning yénida yene ikki dutar tamgha yöleglik turidu. Dutar satsa kérek, naxshisi arqiliq dutarlirigha xéridar chaqiriwatqan iken. Uning közliri hewes otlirida yalt-yult yénip turidu, küchinishtin gören tomurliri köpüp, chékiliri qizghuch bolup wilildaydu, chirayi bir qizghin xushxuyluq we shoxluqta yélijaydu. Yigit jarangliq awazda kona küyni selgine buzup towlimaqta : chasining otturasida, alti kishi beng tatitu(tartidu).
Sékilekler bir bolup, yigitlini dem tatitu…

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Uyghur Modernist Poetry: Three Contemporary Writers


Uyghur Modernist Poetry: Three Contemporary Writers

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The Uyghur people, who live primarily in the Uyghuristan, have for many centuries held poetry and poets in high esteem. While many aspects of Uyghur life have been altered by social, cultural, and political change over the last century, the importance of poetry in Uyghur culture remains undiminished. Perhaps that’s why modernist poetry, which burst onto the Uyghur literary scene thirty years ago, initially inspired such vigorous debate. The modernists, overwhelmingly young and supremely confident, frequently locked horns with the old guard and stirred great interest among readers. In the second half of the 1980s, the modernists reshaped Uyghur poetry, and even conservative poets—loyal to an ancient tradition of strict meter and rhyme—were influenced by the fresh imagery and thematic range of the young avant-garde.

Among the most talented of that first generation of modernist poets was Tahir Hamut, born in Kashgar in 1969 and educated at the Central University for Nationalities in Beijing. His distinctive poems began appearing in Uyghur literary journals in 1986, and he continued publishing regularly for the next decade. In the late 1990s, he turned his attention to filmmaking, and directed a number of feature films, including the groundbreaking drama Ay guwah (The Moon Is a Witness). His production company, Izgil, has since become one of the most successful producers of Uyghur-language documentaries, advertisements, and music videos. Tahir’s poetic output trailed off in the early years of the new century, as his film career blossomed. Beginning last spring, though, he has enjoyed a midlife renaissance of poetic inspiration and productivity, arguably surpassing even his previous high point in the early 1990s. “The Past,” presented here, dates to this recent period in Tahir’s work, and evinces a concern with the passage of time: what changes, and what never seems to change.

Ghojimuhemmed Muhemmed, a poet of the same generation (b. 1971), occupies a somewhat different place in the Uyghur poetic scene. He began publishing poetry in 1990, while working in a cotton garment factory, and has kept up a remarkable literary pace in the last quarter-century, with work appearing regularly in nearly all major Uyghur-language literary journals. For the last ten years, he has worked at the Khotan City Bus Station. While Tahir Hamut was strongly influenced by Western poetry in Chinese translation, Ghojimuhemmed Muhemmed’s primary influences are predominantly Uyghur, and include both modern and premodern poetry. Comfortable in classical meter as well as free verse, Ghojimuhemmed draws deftly on the stylistic and thematic resources of both traditional and modernist poetry, and is therefore a difficult poet to classify. Some of his ghazals and other classically metered poems have a distinct modernist flavor, while his free verse can at times seem quite traditional in its themes. Ghojimuhemmed’s mastery of Uyghur poetic idiom allows him to play skillful variations on literary convention, often with poignant and powerful results. “Chronicle of an Execution,” one of his better-known works, is a grammatically innovative meditation on the timeless theme of war’s futility. Nearly every line ends in the accusative, with the subject of the sentence left unstated. The poem is comprised of images and thoughts that are offered, not explained, a technique which in Ghojimuhemmed’s hands charges the poem with a driving intensity.

By the turn of the twenty-first century, Uyghur modernism had matured into a complex movement with many streams and eddies. While modernist poetry itself is no longer controversial, some poets have staked out iconoclastic positions on the literary frontiers. In 2009, Osmanjan Muhemmed Pas’an announced the birth of the Nothingism (Héchnémizm) movement in a widely-circulated proclamation that touched off months of controversy in literary circles. While its exact principles remain subject to debate, Nothingism has nonetheless become a rallying point for a number of innovative and uncompromising young poets. Osmanjan, born 1981 in a village near Guma, remains one of the more prolific, and has published widely both online and in print journals. He lives in Ürümchi, where he works in publishing and bookselling. The poem included here, “Against Tradition,” is among his most ambitious, and probes at questions of knowledge, conformity, and community.

These three poems, by three of the most exciting poets working in Uyghur today, give a sense of the range and vibrancy of Uyghur modernist poetry. For thirty years, successive generations of modernists have pushed the limits of the possible in Uyghur poetry, and they show no signs of stopping.

© 2016 by Joshua L. Freeman. All rights reserved.

Read more: http://www.wordswithoutborders.org/article/march-2016-introduction-new-uyghur-poetry-joshua-l-freeman#ixzz41mR0lp95