O‘tkan kunlar romani

Kamina xizmatkoringizning maqsadi – «O’tgan kunlar» haqida uch-to’rt og’iz so’z aytish edi. Gapni to’g’ridan to’g’ri shundan boshlasam ham bo’lardi. Ammo Abdulla Qodiriy va uning safdoshlari otilgan kunni, onni eslamoq zarur edi. Chunki ularning o’limlari tasodifiy emas, ular oxir-oqibat shu jar yoqasiga kelajaklarini bilganlar va bu holni asarlariga singdirganlar.

Yuridik Maslahat Portali

Abdulla Qodiriyning “O’tkan kunlar romani” haqida. (Tohir Malik sharhi)

• Islombek Abdixakimov
• 50 532 ko’rildi

“O’tkan kunlar” asarini ilk bor o’qiganimda, kitobning so’ngida asarga Tohir Malik tomonidan yozilgan sharhni o’qib qoldim. Ushbu sharhni o’qimagunimcha, men “O’tkan kunlar” asarini shunchaki bir sevgi qissasi, muhabbat haqida yozilgan ilk o’zbek romani deb o’ylagan edim. Ushbu sharhni o’qib chiqqach asar haqidagi fikrim butunlay o’zgardi va asar yozilishining asl maqsadi va uning ostida yotgan xalq dardini tushunib yetdim. Sizga ham Tohir Malik tomonidan “O’tkan kunlar” romani haqida yozilgan mazkur maqolani o’qishni tavsiya qilaman.
(Islombek Abdixakimov)

O’tkan kunlar romani haqida. Tohir Malik.

Ularning jisman mahv etilganlariga ellik olti yil bo’libdi. O’shanda hazrat Abdulla Qodiriy qirq to’rt yoshda ekanlar. «O’tgan kunlar» ro’monining yozilganiga esa yetmish yil bo’ldi. Yozuvchi bilan birga asarga ham kishan urdilar. Asarni ham o’limga mahkum etdilar. Haq yo’lidagi asarni hech qanday hukmdor hech bir zamonda mahv etolgan emas. Abdulla Qodiriy ham, u zotning asarlari ham tirik qolaveradi.

Kamina xizmatkoringizning maqsadi – «O’tgan kunlar» haqida uch-to’rt og’iz so’z aytish edi. Gapni to’g’ridan to’g’ri shundan boshlasam ham bo’lardi. Ammo Abdulla Qodiriy va uning safdoshlari otilgan kunni, onni eslamoq zarur edi. Chunki ularning o’limlari tasodifiy emas, ular oxir-oqibat shu jar yoqasiga kelajaklarini bilganlar va bu holni asarlariga singdirganlar.

«O’tgan kunlar» haqida balki yuzlab maqolalar yozilgandir. Tanqid qilingan, tahlil etilgan, maqtalgan maqolalarning ayrimlari bilan tanishman. Men adabiyotshunos olim emasman. Tahlillarga no’noqman. Men faqat Abdulla Qodiriyning muxlisiman. Shu bois u mo’tabar zotning asarlaridan olgan taassurotlarimnigina bayon qila olaman.

Abdulla Qodiriy adabiyot olamida o’z maktablarini yaratganlar. Men shu maktabning boshlang’ich sinfidaman. Fikrlarim ham shu darajada – ma’zur tutgaysiz.

Biz o’rta maktabda Abdulla Qodiriy hayoti va ijodini o’rganmaganmiz. Universitetda ham axborot tarzidagi ma’ruzalarni tinglaganmiz. O’rta maktabda «Gulnor ( yoki Zaynab, Farhod, Majnun…) – chin muhabbat egasi», degan mavzularda insholar yozganmiz. Farzandlarimiz esa «Otabek (yoki Kumush, Anvar, Ra’no…) – chin muhabbat egasi», degan mavzuda insholar yozdilar. Olimlarimiz nashr etgan ayrim maqolalarda ham shu holni uchratishimiz mumkin. Bu masalada ularga jiddiy e’tiroz bildirmoqchi emasmiz. «O’tgan kunlar» ro’mon tarzida (janrida) yozilgan. «O’tgan kunlar»ning poydevori – Otabek bilan Kumushning muhabbati. Men bu asarni shimoliy ummondagi bahaybat muz tog’iga – aysbergga o’xshataman. Ma’lumki, bu tog’ning faqat cho’qqilari ko’zga tashlanadi, asosiy qismi esa ko’rinmaydi – suv ostida bo’ladi. Har bir ulug’ asarning ulug’vorligini, umrini ana shu ko’zga ko’rinmas qismi ta’min etadi, deb o’ylayman. Abdulla Qodiriy qo’lga qalam olganlarida ikki yoshning olovli muhabbatinigina bayon qilmoqchi bo’lganmikinlar? Agar maqsad shugina bo’lsa asar bu qadar ulug’vorlik kasb eta olarmidiq Axir tariximizda ishqiy qissalar kam edimi? Eslaylik: Abdulla Qodiriy adabiyotga muhabbat kuychisi bo’lib kirib kelmaganlar. Fikrimizning dalili uchun «Juvonboz» deb atalgan hikoyalarini, «Baxtsiz kuyav» deb atalmish pyesalarini yodga olish kifoyadir. Shunga ko’ra aytmoq mumkinki, yozuvchi adabiyot maydoniga xalq g’amida kuyib-yonib kirib kelganlar. Xalqning taqdirini, kelajagini o’ylab qayg’urganlar. «O’tgan kunlar» yozishga ham ana shu millat qayg’usi undagan bo’lsa kerak.

Yuz jafo qilsa manga bir qatla faryod aylamon,
Elga qilsa bir jafo yuz qatla faryod aylaram.

«Kumushni o’ldirib qo’ydim», deb yig’lagan ekanlar. Nazarimda yozuvchi Kumush ismli go’zal juvonning o’limidan emas, boshqa narsadan kuyib, yig’laganlar. Bu haqda bir ozdan so’ng batafsilroq mulohaza yuritmoqqa urinib ko’ramiz.

Fikri ojizimcha, «O’tgan kunlar»ning birinchi va oxirgi jumlasi asarning asl mohiyatini belgilaydi:

«1269-inchi hijriya, dalv oyining 17-inchisi, qishqi kunlarning biri, quyosh botqan, tevarakdan shom azoni eshitiladir…»

«…O’zbek oyim qora kiyib, ta’ziya ochdi.»

Shu jumlalarni ko’p o’ylayman. Nima uchun qish kuni? (Bahor yoki yoz emas?) Nima uchun atrofdan shom azoni (bomdod emas!) eshitiladi? Aytmog’ingiz mumkinkim, savdo ahli kunduzi ish bilan mashg’ul, karvonsaroyga shu paytda qaytadi, Otabekning huzuriga keluvchi mehmonlar shuni nazarda tutganlar. Shunday desangiz sizga yana bir savolim bor: ular bomdodda keluvlari ham mumkin edimi? Yoki, Marg’ilon katta shahar emas, Otabekni bironta rastada kunduzi uchratmoqlari ham ehtimoldan holi emasdir.

«…Tevarakdan shom azoni eshitiladir…» Balki buning ramziy ma’nosi bordir. Balki yozuvchi aynan shom azonini ta’kid etganida faqat namozga chaqiriqni emas, boshqa narsani ham nazarda tutgandir? Har holda menga shunday tuyuladi. Shom – qorong’ulik bosib kelishidan bir darak. Dalvda kechalar uzun, yorug’lik kamroq bo’ladi. Shom azoni yurt boshiga yopirilib kelayotgan qorong’ilik, zulmatdan ogoh etuvchi darak emasmikin? Donishmand adib «Hoy mo’minlar, ko’zlaringizni ochingiz, ostonangizda g’anim turibdi. Ittifoq bo’lmas ekansiz, yorug’ kunlaringiz uzun tun kechalariga aylangusidir», demoqchi bo’lmaganmikinlar? Bu azon chaqirig’iga e’tibor berilmadi. Yozuvchi azon chaqirig’ini tilga olgach, uning izidan «namoz o’qildi», demaganlar. Faqat chaqiriqni bayon qilganlar. Hujradagilar esa o’z ishlari bilan mashg’ullar. Bu ham noittifoqlikka bir ishoramikin? Asarda azon chaqirilishi bir necha marotaba zikr etiladi. Ammo biron marta ham namoz tasviri berilmaydi. Ajab hol: azon chaqirilganu hamma dunyo tashvishi bilan band. Adib “qora kunlarning bostirib kirishiga diyonatsizlik sabab”, demoqchi bo’lmaganmilar?

Asarda nima uchun Otabekning onasiga «O’zbek oyim» deb ism qo’yilgan? Axir ayollarda «O’zbek» degan ismni qariyb uchratmaymiz-ku? (Shaxsan men hech eshitmaganman.) Nazarimda yozuvchi shu so’nggi jumla uchun ham «O’zbek oyim», deb qo’yganga o’xshaydilar. …O’zbek oyim qora kiydi… Yurt xavfdan ogoh etuvchi chaqiriqqa e’tibor bermadi, hidoyatdan chekindi va oqibatda qora kiydi, aza ochdi. Qorong’i tunlarga kirib keldi.

Yurtning qora kiyishiga sabab nima? Xudoyorxonning harbiy jihatdan qoloqligimi? Yo’q! Xalq orasida totuvlik yo’qligi asosiy sabab bo’ldi. Yozuvchi tarixni to’g’ri anglab, to’g’ri tahlil qilib, o’z xulosalarini dam ochiq tarzda, dam ramzlar orqali ifoda qilganlar. Asarning dastlabki boblarida o’qiymiz:

«Menimcha o’risning bizdan yuqoridalig’i uning ittifoqida bo’lsa kerak,-dedi Otabek,- ammo bizning kundan kunga orqag’a ketishimizga o’z aro niz’oimiz sabab bo’lmoqda, deb o’ylayman… Oramizda bu qo’rqunch holatni bahaqqi tushanadirg’an yaxshi odamlar yo’q, bil’aks, buzg’uchi va niz’ochi unsurlar tomir yoyib, har zamon sodda xalqni halokat chuqurig’a qarab tortadirlar…»

Diqqat qilaylik: bu gaplarni yigirma to’rt yoshli yigit – Otabek aytyapti. Mazkur satrlar yozilayotganda adib ham taxminan shu yoshda bo’lganlar. (Taxminan, deyishimizga sabab shuki, asar yozish g’oyasi Abdulla Qodiriyda ehtimol shu yoshlarida tug’ilgandir. Har holda ro’mon e’lon qilinganida u zot o’ttiz yoshlarda bo’lganlar. Otabek va Kumushga yosh jihatdan yaqin bo’lganlari uchun ham ularning dardu alamlarini bayon etishda birga yonib, birga kuygandirlar. Shuning uchun ham asarda yolg’on dard yo’qdir?)

Otabek (nima uchun «Ota» «bek», buni ham mulohaza qilmog’imiz lozim.) – yurtning kelajagi. Lekin Otabek yurtning kelajagini yorug’likda ko’rolmaydi.

«…Mozoristonda «hayya ala-falah» xitobini kim ham eshitardi…»

«…O’z Harazi yo’lida istibdod orqali el ustiga hukmron bo’lg’uvchilar yo’qotilmas ekanlar, bizga najot yo’qdir…»

Yurt mozoristonga aylanayozgan, shunday joyda «najotga kelinglar», deb ming baqiring, kim o’rnidan turadi. O’liklar qanday najotga kelishi mumkin? Yozuvchi bunda jisman murdalarni emas, ruhi, milliy g’ururi o’lganlarni nazarda tutmadilarmikin?

Asar yozilayotgan damlarda 1937 yilda boshlangan qirg’inga hali ko’p yillar bor edi. Lekin bo’lajak fojia bo’ronining shabadalari esa boshlaganini yozuvchi sezganlar. Chunki Behbudiy yoki Munavvarqoridek millat uchun qayg’uruvchi ma’rifatparvarlarning qatl etilishlari yaxshilikdan nishona emasdi. Yaqin kelajakda qirg’in bo’lajagini bilibmi, «buzg’uvchi va nizo’chi unsurlar tomir yoyib» borayotganidan xavotirlanadilar. «Buzg’uvchi va nizo’chi unsurlar»ning tomir yoyishi faqat Otabek yashagan davrgagina emas, balki undan keyingi davrlarga ham xosdir.

Yozuvchi asar boshlanishida biz hozir «ijtimoiy muammo» deb aytayotgan muhim masalaga e’tiborni qaratadilar. Qora tunlar qayerdan boshlanishini ko’rsatadilar. So’ng bu muammo go’yo unutilganday tuyulib, ishqiy mojarolarga berilganday bo’ladilar. Ishqiy mojaro hal etilganday tuyulgach esa yana o’sha ijtimoiy muammoga endi Yusufbek hoji ishtirokida qaytadilar. Qipchoq qirg’inini, undan Otabekning qanday larzaga tushganini tahlil etmay turaylik. Asosiy e’tiborni Yusufbek hoji so’zlariga qarataylik. Yozuvchi endi dardlarini Yusufbek hoji tilidan qog’ozga to’kadilar:

«…Burodarlar! O’rus ichimizdan chiqadirg’an fitna-fasodni kutib, darbozamiz tegida qo’r to’kib yotibdir. Shunday mahshar kabi bir kunda biz chin yovga beradirgan kuchimizni o’z qo’limiz bilan o’ldirsak, sen falonsan, deb qirilishsaq, holimiz nima bo’ladir…

…Siz o’z qipchog’ingiz uchun qabr qazigan fursatda, sizga ikkinchilar tobut chopadilar. Biz qipchoqqa qilich ko’targanda, o’rus bizga to’p o’qlaydur…»

Bunda qipchoqqa qabr qazildi, unda esa tobut tayyorlandi. Uzoq yillar chirimaydigan qilib tayyorlandi. Bunda birodarga qarshi qilich ko’tarildi, unda millatga qarshi to’plardan o’q uzildi… Bu endi tarixiy haqiqat. Tarixni nima uchun o’rganamiz, tarixiy voqealarni nima uchun eslaymiz? Boshqa bir xalqqa nisbatan adovat uyg’otish uchun emas, balki vaqtida yo’l qo’yilgan xatolarni anglash uchun, bu xatolarni takrorlamaslik uchun! Dastlabki noahillik bosqin bilan tugadi. Keyingisi o’ttiz yettinchi yil qirg’ini bilan… Yozuvchi va u zotning safdoshlari shu noahillikning qurboni bo’ldilar…

O’zbekning hovlisi qadimda ikkiga bo’lingan edi. Ichkari va tashqari. «O’tgan kunlar» ro’moni ham shunga o’xshaydi. «Tashqari» tomoni bilan ota-bola so’zlari yordamida qisman tanishdik. Endi «ichkari»ga qaraylik-chi? O’zbek oyimning qora kiyishlariga sabab shu ichkaridan chiqar. Ramzlarni, ishoralarni tushunmoqqa urinib ko’raylik.

Avvalo Kumush… Abdulla Qodiriy uni suyib-suyib yozganlar. Kumushni Otabek ko’proq sevar edimi yo Abdulla Qodiriy sevar edilarmi, degan muammoga men hanuz aniq javob topa olmayman. Har holda Abdulla Qodiriyning sevgilari buyukroq bo’lgandir. Yo’qsa, Otabek Kumushni bu qadar o’tli muhabbat bilan seva olmas edi. Yozuvchi Kumushda faqat go’zal malakni ko’rganmilar? Men o’zimcha yozuvchi Kumush timsolida go’zal Vatanni ko’rganlar, deb o’ylayman. Kumushga bo’lgan sevgilari Vatanga bo’lgan sevgilari edi, deb xayol qilaman. Kumushni biz dastlab ko’rganimizda u xasta edi. Ajabki o’shal zamonda yurt ham xasta edi. Otabekning muhabbati Kumushga dalda berdi, shifo berdi. Agar yurt o’g’lonlari Vatanga shunday muhabbatda bo’lganlarida edi, Vatan xastalikdan bosh ko’tararmidi…

«…qo’l uzatib suvdan oldi va yuzini yuvdi. Uning yuzini o’pib tushkan suv tomchilari bilan ariq harakatga kelib chayqaldi, go’yoki suv ichida bir fitna yuz bergan edi… Ikkinchi, uchinchi qaytalab yuz yuvishida bu fitna tag’i ham kuchaydi…»

Kumushning yuz yuvishi bayonida ham yashirin ma’no bormikin? Balki yozuvchi go’zal Vatan atrofidagi fitnalarni aytmoqchi bo’lgandirlar? Bu fitna faqat Kumush zamonasiga xos emas, undan keyin ham davom etdi. Vatanga egalik qilish uchun bir necha mamlakat urindi. Yozuvchi shularni nazarda tutmadilarmi ekan?

Agar Kumush timsolida Vatanni nazarda tutgan bo’lsalar, u holda Kumushning o’limidan iztirobga tushganlari, yig’laganlarining sababi oydin bo’lar? Yozuvchi bir go’zal malakning o’limidan emas, Vatan kelajagining zaxarlanganidan qayg’uga berilmadilarmi ekan? Kumush o’ldi. Ammo uning o’g’li tirik. Demak, Vatan kelajagiga umid bor. Yozuvchining so’nggi so’zidan ma’lumki, Yodgorbekning bir o’g’li sho’rolar tomonida, ikkinchisi o’sha damda «bosmachi» deyilganlar tomonida ekan. Bunda ham ramz bordek ko’rinadi. O’sha yillari yurt o’g’lonlari ham ikkiga bo’lingan. Bir qismi bolsheviklar gapiga ishonib, ular tomonga o’tishgan. Boshqa bir qismi esa qarshi bo’lgan. Zamon akani ukaga g’anim qilib qo’ygan. Yozuvchi shularni o’ylab yig’lamadilarmi ekan?

Kumushning o’limi… Zaxarlanish… Bu turmushda uchraydigan oddiy kundosh rashki oqibatimi? Yurtni boshqaruvchi xon ahli fuqaroni birdek ko’rmadi. Qipchoq qirg’iniga fatvo berdi. Yusufbek hojining yig’lab aytgan so’zlarini yana eslaylik. Otabek har ikki xotiniga bir hil munosabatda bo’lmay, rashk o’tining alanga olishiga sharoit yaratib bermadimi? Xon fuqarosini urug’ga, qabilaga ajratmay, ittifoqqa da’vat etsa, hatto kuch ishlatsa-da, totuvlikni barqaror saqlasa yurt xarob bo’larmidi? Otabek Zaynabdan mehrini darig’ tutmasa, u Kumushga zaxar berarmidi edi?

Asarga «o’zbeklar turmushidan tarixiy ro’mon» deb izoh berilgan. «Sevishgan qalblar haqida» yoki «Muhabbat fojealari»… emas, aynan «o’zbeklar turmushidan», aynan shom azoni chaqirilgan damdagi turmushidan. Shuning o’ziyoq bizni aysbergning quyi qismini o’rganishga da’vat etadi. Bu vazifani ta’bir joiz bo’lsa, bir hamlada uddalash mumkin emasdir. Ya’ni bir maqola yozish bilan uddalab bo’lmaydi.

Hamonki, siz muhtaram o’quvchining diqqatini jalb etishga kirishgan ekanman, yana ayrim qirralarini aytib o’tishim zarur.

Ro’monda ortiqcha tasvir, bayon yo’q. Men har gal uni qo’lga olganimda shuni o’ylayman. Asardan tushirib qoldirish mumkin bo’lgan joyni qidiraman. Yozuvchi yosh, buning ustiga birinchi yirik asari, hayajonga berilibmi yo tajribasizlik qilibmi keraksiz sahifalarni yozgandir deb o’ylayman. Bir safar usta Alimning hikoyasi g’oyat cho’zilgandek tuyuldi. So’ng shu hikoya olib tashlansa nima bo’lardi, deb o’yladim. Keyin fikrlab ko’rsam, yozuvchi buni shunchaki hikoya sifatida ishlatmagan ekanlar. Saodatning o’limi faqatgina usta Alimning qayg’usini berish uchun olinmagan. Saodat oy-kuni yaqinlashganida qiynalib o’ldi. Ana endi Kumushning oy-kuni yaqinlagan damlarini va Otabekning havotirlarini eslaylik. Yoki Homidning Sayfiga (Saodatning ukasiga) yomon nazar, buzuq niyat bilan qarashi oqibatida usta Alimning yangi do’kon qurishi, shu bahonada Farfining kelishi bayon etilgan sahifalarni varaqlaylik. Tugunning yechimi shu sahifalarda boshlanmaydimi? Demak, usta Alimning hikoyasi asarning ikki muhim nuqtasida ish beradi.

Abdulla Qodiriy asarlarida har bir jumlaning o’z xizmati bor. Asarning «Inqilob» bobidagi bir jumlaga e’tiboringizni tortay: Azizbek xalqqa uzr aytganda, uzri qabul bo’lmaydi. Unga qarshi aytilgan gaplar orasida shunday jumla bor: «Xanjaringni xayf ko’rib mahallalarga chayon solig’i solgan, og’alarimizni chayon zahari bilan o’ldirgan kim edi?» Men necha marta o’qisam, shuncha marta bu jumlaga yetarli e’tibor bermabman. Ammo birodarimiz Rustam Tojiboyev bu jumlaga e’tiborni qaratib, kichik ilmiy tadqiqotni amalga oshiribdilar. Tarixiy asarlarni o’rganib, Toshkent hokimi Azizbekning chindan ham mahbuslar ustiga chayon tashlab qiynab o’ldirgani, aholiga chayon solig’i solgani, odamlar paxsa devorlarni buzib chayon qidirishga majbur bo’lganlarini aniqlabdilar. Qarang, birgina jumla faqat Azizbekning yaramas qiliqlarini bayon eta qolmay, balki tarixiy bir haqiqatni ham o’ziga singdirgan.

Yoki… asar boshlaridayoq Homidning shakli-shamoyili, fe’l-atvorining tasviriga alohida e’tibor beriladi. Homid – o’ttiz besh yoshlardagi ko’rimsiz odam. «…uning shuhrati nima uchundir boyligi bilan bo’lmay «Homid xotinboz» deb shuhratlangan». Holbuki uning ikkita xotini bor. U zamonlarda ko’pxotinlik ayb emas, sunnat sanalgan. Nima uchun Homidga «xotinboz» laqabi tirkaldi, Mirzakarim qutidorning qizi haqida gap ketsa nima uchun «Homidning chehrasi buzildi… bir turli vaziyatda jiyaniga qaradi… Yuzidagi boyagi holat yana ham kuchlanib…» toqatsizlandi? Bu holatlar bayoni bekorga tilga olinmagani keyinroq borib ma’lum bo’ladi. «Bu kungacha ikki xotin o’rtasida turib janjalga to’ymagan» Homidning xotinni uchta qilish o’yi borligi ham bekorga aytilmagan. Chunki uchinchi xotin uning o’yicha – Kumush bo’lishi kerak edi. Homid maqsadiga erishmoq uchun hech narsadan qaytmaydi. Homid o’ttiz yettinchi yildagi «xolis xizmat qiluvchi» «do’st»larni eslatmaydimi? Asarda Homid yengilgan edi, hayotda esa…

Asar nimalari bilan diqqatga loyiq? Eng avvalo lutfi bilan, qahramonlarining odobi bilan, shunday emasmi? Bir jumlaga e’tiborni qarataylik: Rahmat Otabekka qarab: «vaqtsiz kelib sizni tinchsizladik», deganida Otabek: «…tinchsizlamadinglar, bilaks, quvontirdingizlar… shahringizga birinchi marta kelishim bo’lgani uchun tanishsizlik, yolg’izlik meni zeriktirgan edi», deb javob qiladi. Shu o’rinda «birinchi marta kelishim», degan so’zlarga diqqat qilaylik. Otabek bu yerda shunchaki emas, birinchi marta kelgani uchun zerikdi. Agar shunchaki zerikdim, desa mezbonlarga malol kelar, balki ularga malomat, gina bo’lardi. «Shahringiz zerikarli ekan», degan ma’no ham chiqardi. Otabek bu yerda ham lutf qildi, ham uning Marg’ilonga birinchi kelishi o’quvchiga ma’lum bo’ldi. Yoki Otabek Hasanaliga ish buyurishdan avval «tuzukmisiz ota?» deb ahvol so’raydi.

«- Ba’zi ishlarni buyursam…

-Rahmat ota, bo’lmasa bizga choy qaynatib bersangiz-chi.

Shu qisqa savol-javobda odobning oliy cho’qqisi ko’ringan. Otabek Hasanaliga «ota», deb murojaat qilganida u «o’g’lim», deb javob berdi. Otabek ish buyurganida esa «begim», dedi. Bu yerda faqat Otabekning lutfi emas, Hasanalining odobi, ziyrakligi, fahmi ham aks etgan. Yoki, «bu kishi kimingiz bo’ladi?» degan savolga Otabek darrov javob bermaydi. «Hasanalini hujradan uzoqlatib, so’ngra javob berdi: – qulimiz».

Otabek bu o’rinda to’g’ridan to’g’ri shunday deganida Xasanali ranjimas edi. Chunki u qulligini unutgan emas. «Xo’b, begim», deyishining o’ziyoq bunga dalil. Otabek islomiy odob egasi bo’lgani uchun ham Hasanalini hujradan uzoqlatib aytdi bu gapni.

So’z islom va iymon haqida borar ekan, aytmoq joizki, asarda iymonlilar (Otabek, Yusufbek hoji…) va iymonsizlar (Homid, uning sheriklari, Azizbek) kurashi mavjud. Yozuvchi falonchi iymonli, falonchining iymoni sust, degan so’zni ishlatmaydi. Buni qahramonlarning so’zlari, harakatlari ayon etib turadi. Hayotda chin musulmon bo’lish, mustahkam iymon egasi bo’lish juda og’ir. Namoz o’qigani bilan darrov iymonli bo’la qolmaydi odam. Homidlar, azizbeklar ham o’zlarini musulmon sanashgan, namozlarini o’qishgan, ammo iymondan uzoq bo’lishgan. Balki o’ttiz yettinchi yilda do’stlarining qo’llariga kishan urib berganlar ham o’zlarini musulmon sanashgandir. Balki keyinroq gunohlarini anglab, tavbalar qilishgandir… Balki…

Bayt: Chand boshi zi maosiy mazakash,

Tavba ham bemaza nest bi chash.

(Ma’nosi: Qachongacha gunoh ishlardan zavq olasan, tavba ham bemaza emas, undan ham totib ko’r. «Boburnoma»dan)

Va nihoyat, qatag’onning umri tugadi. Yozuvchining nomi oqlandi, asarlari hibsdan ozod bo’ldi. Qariyb yigirma yil Abdulla Qodiriyning asarlarini qo’lga olish man etildi. Bu asarlarni o’qiganlar jazoga tortildi. Gunohdan qo’rqmaganlar kitoblarni yoqib yuborib, jon saqlashdi. Ko’pchilik esa kitoblarni sandiqqa solib, yerga ko’mdi. Qo’shsinch devor orasiga olib suvab tashladi – yoqib tashlashga ko’ngli bo’lmadi. Ayrimlar esa hech narsadan qo’rqishmadi. Saqlanib qolgan kitoblar qo’lma-qo’l bo’lib o’qilaverdi.

Haqiqat ro’yobga chiqa boshlagach, Abdulla Qodiriy ijodiga munosabat ham o’zgardi. Izzat Sulton birinchilardan bo’lib yozuvchi ijodi haqida maqola yozdilar. Va… tanqidga uchradilar. Abdulla Qodiriy ijodiga haddan tashqari yuqori baho berishda ayblandilar. «O’tgan kunlar» Sarvar Azimov tahriri ostida kitob holida nashr etildi. Nashrga juz’iy o’zgartirishlar kiritildi. Ayrim jumlalar qisqartirildi. Hozir, oradan qirq yil o’tib, bemalol erkin fikrlashimiz, kimnidir, nimanidir ayblashimiz oson. Shuni unutmaylikki, elliginchi yillarning o’rtalarida bir dohiy o’lgani bilan tuzum yashamoqda, tuzum yangi dohiyni minbarga ko’tarmoqda edi. «Sotsialistik realizm», «milliy masala», «kommunizm»… degan tushunchalar avvalgi dohiy davrida qanday bo’lsa, keyin ham o’sha holda kun tartibida turar edi. Ya’ni tuzum imorati saqlangan, faqat u yer bu yerdagi ko’chgan suvoq o’rinlari qayta suvalayotgan edi. Bu – birinchidan. Ikkinchidan, Abdulla Qodiriy va uning do’stlari qo’llariga kishan urib berganlar hayot edilar. Ular ayblarini bo’yinlariga olib, osonlikcha chekina olmasdilar. Shunga ko’ra asarni asl holicha chiqarish imkoni u davrda yo’q edi. Bir necha jumla olib tashlanmasa, asar butunlay chiqmasdan qolishi mumkin edi.

Har narsaning vaqti, soati bo’lganidek, «O’tgan kunlar» ham vaqti kelib,asl holicha, yozuvchi hayot ekanliklaridagi nashrga asoslangan holda kitob qilindi. Bu ishni yozuvchining nabiralari, Habibullo Qodiriyning o’g’illari Xondamir Qodiriy amalga oshirdi.

Alqissa…

«O’tgan kunlar» yetmish yil umr ko’rdi. Yetmish yil azobli, uqubatli umr kechirdi. Yetmish yil bu asar uchun sinovli yillar bo’ldi. Asar sinovdan o’tdi. Abadiyat martabasini oldi…

Ma’zur tuting, so’zim bir oz cho’zildi. Men ilmiy maqola yozishga da’vogar emasman. Asarni o’qiganda ko’nglimdan kechgan fikrlarni bayon qildim. Abdulla Qodiriy ijodini o’rganish bo’yicha olimlarimiz ancha ish qilishgan. Qilingan barcha ishlarni «debocha» desam ranjimaslar. Xorijda suyukli yozuvchilari ijodini o’rganuvchi maxsus institutlar bor. Bu institutlar har yili yozuvchi ijodiga bag’ishlangan kitoblar, jurnallar chiqarishadi. Pushkin vafotidan keyin uning ijodini o’rganish bilan shug’ullangan olimlar soni sanalsa shoir yaratgan she’riy satrlar sanog’idan ham ko’p bo’lsa ehtimol. Shoir ijodiga bag’ishlangan kitoblar taxlab chiqilsa, Kremldan ham balandroq bo’lar… Shularni mulohaza qilib ham ishlarni «debocha» dedim.

Xudoga shukr, Abdulla Qodiriy muzeyi barpo etildi. Endi ilmiy kuchlar shu muzey atrofida to’plansa, kelajakda «Qodiriyshunoslik instituti» ham vujudga kelar. Yaxshi niyat – yarim mol. Yaxshi niyat qilaveraylik.

1994 yil. Tohir Malik.

Do’stlarga ulashing

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“O‘tkan kunlar ” romani

15666 Buyuk yozuvchi, shoir, dramaturg va publitsist Abdulla Qodiriy o‘tgan asrning haqiqatan ham fenomen shaxsidir. U o‘zbek adabiyoti tarixi va rivojida o‘chmas iz qoldirdi. Qodiriyning mahorati yil sayin xorijda tobora ko‘proq e’tirof etilayotgani ajablanarli emas! Masalan, 2019-yil dekabr oyida O‘zbekistonning Vashingtondagi elchixonasida AQShda birinchi bo‘lib ingliz tilida nashr etilgan Abdulla Qodiriyning “Bygone days” (“O‘tkan kunlar”) kitobi taqdimoti bo‘lib o‘tdi. Romanni taniqli amerikalik tarjimon va tadqiqotchi Mark Riz tarjima qilgan. “O‘tkan kunlar” – bu o‘zbek romanistikasidagi birinchi qaldirg‘ochdir. Qodiriy romanning kirish so‘zida shunday deb yozadi: “Modomiki, biz yangi davrga oyoq qo‘ydik, bas, biz har bir yo‘sunda ham shu ‎yangi davrning yangiliklari ketidan ergashamiz va shunga o‘xshash ‎dostonchiliq, ro‘monchiliq va hikoyachiliqlarda ham yangarishg‘a, xalqimizni ‎shu zamonning “Tohir-Zuhra”lari, “Chor darvesh”lari, «Farhod-Shirin». lari bilan tanishdirishka o‘zimizda majburiyat his etamiz.‎ Yozmoqqa niyatlanganim ushbu — “O‘tkan kunlar”, yangi zamon ro‘monchilig‘i ‎bilan tanishish yo‘lida kichkina bir tajriba, yana to‘g‘risi bir havasdir”. Butun roman davomida yozuvchi to‘g‘ridan-to‘g‘ri o‘quvchiga murojaat qiladi, rang-barang obrazlarni yaratadi, qahramonlarning haqiqiy his-tuyg‘ularini yetkazadi. Abdulla Qodiriyni bejizga “millat ko‘zgusi” deb atashmaydi. Yozuvchi o‘z asarlarida XIX asrdagi Turkiston tarixini haqqoniy tarzda yoritib beradi, o‘zbek hayotining chinakam manzarasini yaratadi va o‘sha davr muammolari haqida mulohaza yuritadi. Abdulla Qodiriyning “O‘tkan kunlar” kitobini rus tilida, shuningdek lotin va kirill yozuvlaridagi o‘zbek tilida bu yerda yuklab olishingiz mumkin.

Abdulla Qodiriy “O‘tgan kunlar” romani

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