St Petersburg International Conference of Afghan Studies

52 Санкт-Петербургская международная конференция по афганистике Секция 2. Письменные традиции, литература и фольклор Афганистана... and all the ghazal beits are variations on the given topic. In the redifs of the ghazal “Since you have secrets with a rival...” and the ghazal “Rivals turned my beloved away from me...” the poet uses the words ra ḳ īb (“...rival”) and dust (“...beloved”), which serve to identify key images in Hamid’s love lyrics. The traditional structure of the content of the ghazal genre is determined by two obligatory semantic centers: “I” and “beloved”. Very often, these semantic centers in Hamid’s ghazals also become structural and organizing centers. On them the images are threaded, and this is how the compositional unity and the logical connection between the beits arise. In every beit of a love ghazal “If you, beloved , do not question me about my condition...” there are pronouns that clearly point to any of the semantic centers: 1) you — you, 2) I — you, 3) I to you — God to you, 4) me — from yours, 5) I myself — to you, 6) mine — yours, 7) Hamid — he. Thus, the structural and figurative-semantic integrity of the ghazal arises. Another type of organization of monothematic Hamid’s ghazals is a ring composition, which consists in the development of the motives of the initial beits in the end of the poem. A similar composition is characteristic of Hamid’s love ghazal: “The life of a reveller has become better for me again than the sheik’s lot...” In the first and second beits of the ghazal, the poet develops the motive of abandoning piety and asceticism in the name of love, and at the beginning of the first beit he uses the life of a reveller as a symbol of this rejection. In the last two beits of the ghazal, the poet again returns to the above motif, interpreting it in a new way, and rounds out the composition with the phrase from the beginning of the ghazal: “Be calm, o tutor, he will not be your adherent! / Hamid has again taken the oath of a reveller”. Analysis of the composition of ghazals by ‘Abd al-Hamid Momand shows that he used the methods of the compositional organization, which were fixed in the canon of Persian classical poetry and were perceived by Afghan poetry in Pashto. Traditional compositional techniques have become an organic part of the creative manner of this Afghan classic poet. Е. П. Писчурникова (Восточный факультет СПбГУ, Санкт-Петербург, Россия) Композиционная структура газелей Хамида Моманда Доклад посвящен принципам композиционной организации газелей, входя- щих в стихотворное собрание афганского поэта-классика конца XVII —первой трети XVIII в ‘Абд ал-Хамида Моманда. В диване Хамида примерно в равном соотношении представлены полите- матические и монотематические газели. Для большинства политематических газелей характерна смысловая изолиро- ванность входящих в нее бейтов, отсутствие между ними очевидной логической