Nizami G?nc?vi "X?ms?"si Az?rbaycan ?d?biyyatında XII ?srd?n XIX ?sr? q?d?rki uzun bir müdd?t ?rzind? hakim mövqeyini qoruyub saxlamışdır. Bu yüzillikl?r müdd?tind? G?nc?li ustadın "P?nc-i g?nc" adlandırdığı söz yarışına n?inki Az?rbaycan, bütün ş?rq ?d?biyyatından nümay?nd?l?r qoşulmuş, ona n?zir?l?r yazmaqla bu ?n?n?nin uzunömürlülüyün? v?sil? olmuşlar. Bel? s?n?tkarlardan biri d? XVI ?srd? yaşayıb-yaradan H?qiri T?brizi olmuşdur. O, Nizamiy? n?zir? olaraq q?l?m? aldığı "Leyli v? M?cnun"u il? Az?rbaycan ?d?biyyatında ilk? imza atmış, özünd?n sonra g?l?nl?r üçün nümun? olmuşdur. M?qal?d? d? H?qiri T?brizinin "Leyli v? M?cnun"unun anadilli ?d?biyyatda tutduğu mövqed?n, onu xarakteriz? ed?n spesifik c?h?tl?rd?n b?hs edilmişdir. Şair bu ?s?ri yazıya almaqla özünd?n sonrakı davamçıları üçün ana dilind? "X?ms?"y? n?zir? yazmağın mümkünsüzlük baryerini aşmışdır. H?qirinin "Leyli v? M?cnun"u etalon nümun?yl? tutuşdurularaq t?hlil? c?lb edilmişdir. Şairin Nizaminin "Leyli v? M?cnun"u il? yanaşı Az?rbaycan folklorundan istifad?y? xüsusi yer vermişdir. Bel? ki, burada "Kitab-i D?d? Qorqud", "Tahir v? Zöhr?", "?sli v? K?r?m", "Qurbani"v?.s kimi dastanlardan b?hr?l?nm?si faktları ortaya çıxarılmış v? h?r iki şairin mifologiya, xalq ?d?biyyatına münasib?ti m?s?l?si müst?visind? ş?rh edilmişdir. El?c? d? poemanın ?vv?lind? H?qirinin adını ç?kdiyi Hatifi v? D?hl?vid?n b?hr?l?nm?si m?tndaxili t?hlil zamanı ?ld? edilmiş konkret nümun?l?rl? geniş ş?kild? izah olunmuşdur. T?dqiqat zamanı Cami, M?kt?bi, Şahidi, Sevdayi v? C?lilid?n qaynaqlanan oxşar motiv v? sujetl?r ortaya çıxarılmış v? onların şairin ş?xsi t?x?yyülü il? m?har?tl? sintezi m?s?l?si xüsusil? vurğulanmışdır. Açar Sözl?r: Nizami, H?qiri, Leyli v? M?cnun, motiv, m?sn?vi, folklor

The Khamsa Nizami Ganjavi succeeded to preserve its ascendant position in Azerbaijani literature for the considerably long period lasting from 12th to 19th century. During these centuries the representatives of not only Azerbaijani but also of the whole eastern literature participated in the poetry competition called as “Panj-i Ganj” by ustad (“master”) Nizami, contributing to the longevity of this tradition by writing naziras1to his poems. Haqiri Tabrizi was one of such masters of poetry who lived in 16th century. He blazed a trail and set the example for next generations of poets by creating his own “Layla and Majnun” as a nazira to Nizami. The article deals with Khagiri’s “Leyla and Majnun” which is one of the next naziras written for Nizami Ganjavi’s “Leyla and Majnun” poem. Khagiri was first poet who wrote “Leyla and Majnun” in azeri and opened the door for local followers and broke down the inability barriers of writing “Khamsa” in azeri-turkish language. During comparetive analysis some similar and different features with etalon sample have been revealed. Moreover these case studies it has been proven that Hagiri had benefited from Azerbaijan folklore. We are also particularly emphasized the mastership combination of motives and plots which he used from poets (Khatiphy, Dakhlavy) whose names he mentioned at the begining of his work. As a result, the study has been found similar signs with works by poets like Jami, Maktabi, Shahidi, Sevdai and their synthesis with Hagiri’s personal imaginations The Khamsa2 Nizami Ganjavi succeeded to preserve its ascendant position in Azerbaijani literature for the considerably long period lasting from 12th to 19th century. During these centuries the representatives of not only Azerbaijani but also of the whole eastern literature participated in the poetry competition called as “Panj-i Ganj” by ustad (“master”) Nizami, contributing to the longevity of this tradition by writing naziras3 to his poems. Haqiri Tabrizi was one of such masters of poetry who lived in 16th century. He blazed a trail and set the example for next generations of poets by creating his own “Layla and Majnun” as a nazira to Nizami. Haqiri Tabrizi lived in 16th century (died in 1586 – 86), which is the period when the greatest number of “Layla and Majnuns” was written by various authors, among whose are Zamiri (16th century), Haqiri (died in 1585), Sevda (16th century), Fuzuli (died in 1556), Hamdi of Larendi (16th centiry), Khalifa (died in 1572), Atayeh (16th century) and etc. The reason behind such popularity of “Layla and Majnun” theme was its difference and uniqueness. It is a theme referred to by many authors in the history of world literature. Haqiri also wrote his “Layla and Majnun” poem in a distich form. However, the poet introduced some novelties to traditional distich format. Thus, one does not find any nats 4, minajats5 , meracnames6, words’ definitions and etc, in his “Layla and Majnun”, which are parts of a traditional distich. Nizami wrote his own Layla and Majnun in a distich form, not adding any other prosodies, while Haqiri uses ghazals and tetrastiches, blazing a trail in Azerbaijani literature by this. It is worth noting that the tradition to add other prosodies to traditional distich format of “Layla and Majnun” in Persian and Turkic literature was established by A. Jami (1419 – 1492) and E. Shahidi (died in 1478) accordingly. As distinct from Nizami, Haqiri wrote in ramal meter instead of hazaj meter. Khalil Yusifli notes this in his “Nizami Ganjavi – predecessor and successors” monograph: “Haqiri tries to unmask and express the inhuman essence of the society of his time. However, he is not so passionate as Fuzuli or Nizami in this. His social thoughts are moderate. Maybe this is the reason why Haqiri wrote “Layla and Majnun” not in “maf'ulu mafa'eelon, fa'elon” of hazaj meter which is deemed “Layla and Majnun”`s meter but in “fa'elaton fa'elaton fa'elat” of ramal meter.7 Furthermore, unlike Nizami, the ideas that lay the foundation of the “unity of being” (vahdat-i vujud)” philosophy are stated and promoted in a more expressive way in Haqiri’s “Layla and Majnun”. Certainly, Nizami’s “Layla and Majnun” also posess the elements of Sufism. However, the divine love arising from the “vahdat-i vujud)” philosophy shows itself more radically and explicitly in contrast to the reserved way of expression we observe in Nizami’s poem. Such radicalism and explicitness is a reflection of the fact that Haqiri was one of the famous “mawlas” (mevla) of his time. This paper presents the place of Haqiri Tabrizi’s “Layla and Majnun” in Azerbaijani literature and the specific aspects characterizing the poem. By writing this masterpiece the poet crossed the threshold which we may call as the “threshold of impossibility of writing a nazira to “Khamsa” in Azerbaijani language. This paper presents an analysis of Haqiri’s “L;ayla and Majnun” in comparison with the “master sample”. While the living and creative works of Haqiri has been studied thoroughly, his “Layla and Majnun” has not been subjected to any sequential and detailed analysis down to smallest detail within the context of Nizami’s poem of the same name up to the present moment, such lack of study being the main reason behind the selection of this theme by the Author. The role Nizami’s “Khamsa” in the development of Azerbaijan’s “khamsaism” is studied along with the contribution made by Haqiri to conservation of this tradition. Poet imprinted various multicolored patterns on the “Layla and Majnun” theme “canvas” by his poem. Haqiri refers to Azerbaijani folk literature too. Thus, it was revealed that he put to use “Kitabi - Dede Krkut” (Book of Dede Korkut), “Tahir and Zohra”, “Asly and Karam”, “Gurbanui” and other Azerbaijani eposes and such reference to folk literature was analyzed in the context of approach of both poets to mythology and folk literature. The limits established by Haqiri for his pen go far beyond “Layla and Majnun” and he is inspired by “Khosrov and Shirin” (one of “Khamsa” themes) the motifs of which he synthesizes with great mastery. Thus, the portrait of Khosrow painted and shown to Shirin by a painter becomes the portrait of Layla brough and shown to the Ibn Salam’s son. Also, the paper gives a detailed explanation of certain samples of how the poet resorts to Hatifi and Dahlawi whose names he cites at the beginning of the poem. The study also reveals motifs and plots similar to those used by Jami, Maktabi, Shahidi, Sevdai and Jalili and emphasizes the masterly fashion at which these where synthesized in the poet’s imagination. Finally, it may be noted that while Haqiri Tabrizi assumes the Nizamis “Layla and Majnun” as a basis for his own poem of the same name, inspired by many other nazira masters and folk literature, he succeeds in creation a totally different and unique piece. While the sociality of Nizami is not so explicit here, Haqiri managed to synthesize the motifs and plots of previous authors and his own imagination with masterly skill and was able to make connections between these motifs and plots and his contemporary time. Such successful connection gives to modern readers of the 16th century and following periods more precise picture of the Poet’s times and the problems that were matters of concern for him.