American Journal Of Philological Sciences
241
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue06 2025
PAGE NO.
241-244
10.37547/ajps/Volume05Issue06-64
The Role of The Ghazal In the Work
“Rohati Dil”
Alieva Sevinch
Doctoral Student at Jizzakh State Pedagogical University, Uzbekistan
Received:
25 April 2025;
Accepted:
21 May 2025;
Published:
23 June 2025
Abstract:
This article is dedicated to the commentary on the ghazals w
ith the radifs “Bolam,” “O‘tdilar bu dunyodin
dilxohlar...,” and “Kishi” from the work “Rohati dil” by Khojanazar Huwaydo. The article analyzes the texts of the
ghazals and reveals the artistic imagery means.
Keywords:
Ghazal, artistic imagery, poetic art, meter, rhyme letter, rhyme, contrast, repetition, simile, proportion,
exclamation, tasbe’, talmeh
.
Introduction:
The work “Rohati dil,” one of the pearls
of Uzbek classical literature, stands out from other
works with its thematic scope, historicity, and vitality,
in which the autho
r’s artistic mastery is manifested at a
high level. The work contains the logical continuation
of the story “Ibrohim bin Adham rahmatulloh alayhi” —
under the title “Dar bayoni Zulhayo imraatu sulton
Ibrohim bin Adham Rahimahu-l-
lohi” (In the narrative
of Zulhayo, the wife of Sultan Ibrohim ibn Adham). It is
known that ancient legends and tales about Ibrohim bin
Adham have attracted the attention of many creators
of different eras among Eastern peoples.
It is appropriate to note that these stories were created
on the basis of traveling plots, and depending on each
poet or writer’s creative intention, artistic
-mystical
thinking, and life-creative experience, they were
manifested in various forms. In the work “Rohati dil” by
Khojanazar Huwaydo, many poetic genres are used.
When the poet includes ghazals or poems of other
genres into the text, he takes into account the
completeness of the composition. At the same time, it
can be said that whatever genre the poet introduces
into the work, he tries to choose in accordance with the
story and the spirit of the character. This indicates the
high level of Huwaydo's skill. Among them, there are
quite a few poems that conform to the real ghazal
genre. For instance, in the story “Dar bayoni Zulhayo
imraatu sulton Ibrohim bin Adham Rahimahu-l-
lohi” (In
the narrative of Zulhayo, the wife of Sultan Ibrohim ibn
Adham), ghazal genre is referred to in the course of
narration. These ghazals are recited by the characters
in the process of the events. There are 6 ghazals in total
in the work: one consists of 3 couplets, one of 4, two of
5, one of 7, and one of 16 couplets. In this article, we
focus on the analysis of the ghazals with the radifs
“Bolam,” “O‘tdilar bu dunyodin dilxohlar...,” and
“Kishi.”
In the story “Dar bayoni Zulha
yo imraatu sulton
Ibrohim bin Adham Rahimahu-l-
lohi,” it is narrated that
Sultan Ibrohim bin Adham was the ruler of the city of
Balkh, and later renounced the world; then his wife
Zulhayo gave birth to a son, named him Muhammad,
and when the boy grew up, he wanted to find his
father. After this process, the poet gradually inserts
ghazals in place. This served to perfect the work and
enhance its artistry. First, the ghazal with the radif
“Bo‘lmoq” is quoted; then we see that the mother,
distressed by the departure of her son, recites the
ghazal “Qilg‘on firoq” for her son. Not finding his father,
the prince, overwhelmed with grief, expresses his heart
with the ghazal “Etgan o‘lum,” and the joy of the prince,
who eventually meets his father, does not last long
—
by God's will, Azrael takes his soul, and the mother,
who hears that Sultan Ibrohim ibn Adham has buried
his son with his own hands, weeps and recites the
ghazal “Bolam.” These are conveyed in touching lines,
rich in artistic coloring.
In the ghazal, the emotions of a mother who misses her
distant child, whose heart burns in anxiety, who waits
day and night with longing, and who, upon suddenly
American Journal Of Philological Sciences
242
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
hearing of her son’s death, expresses her heart’s storm
in agony, are conveyed:
Emdi izlab topmag‘aymen qaydasen
jonim bolam,
Ko‘rgali kelding yuzumni mohi tobonim bolam (108–
109).
The ghazal with the radif “Bolam” is written in the
meter ramali musammani mahzuf (foot: foilotun,
foilotun, foilotun, foilun; scansion:
–
V
–
–
/
–
V
–
–
/
–
V
–
–
/
–
V
–
) and consists of 16 couplets. The rhyming
words
are
“jonim,”
“tobonim,”
“afg‘onim,”
“gulistonim,” “darmonim,” “konim,” “afg‘onim,”
“qonim,” “jonim,” “mehmonim,” “xonavoyronim,”
“sultonim,”
“so‘zonim,”
“bayt
ul
-
axzonim,”
“darmoyim,” with the letter “n” as raviy, forming
an
absolute rhyme.
Due to the large size of this ghazal text, we deemed it
appropriate to present a summary translation: Where
are you now, my soul, my child
—
I cannot find you.
Have you come to see my face, my shining moon? If on
the plain of Judgment I see your face and height, My
sighs and wails will shake the Day of Resurrection. If you
ask why so much burning for what is destiny, Alas, my
rose garden has withered before blooming. My heart
has come to happiness with your pain, But I have no
strength left to speak. Even if I tell your pain until death,
it will not end
—
You are an endless mine of sorrow in my heart. Since
ancient times it was said, “Good ones perish,” It’s me
who departed young and as a Muslim.
Now my cry won’t reach you, but each moment I recall
you
—
I scream "Oh!" aloud.
Don’t say spring has adorned the earth —
It is the blood
dripping drop by drop from my eyes. Some now say
“Forget this grief” —
But can this pain of separation ever be forgotten? Until
now, I never knew what loneliness meant
—
Now that
grief has come upon me, I understood.
You, soul of my heart, light of my eyes, adornment of
my house,
Are my nightly guest. Which part of you shall I mourn?
You vanished without a trace
—
You are now a ruin with
no sign or name.
O friends, what can I do now? My destiny, my value, My
honor and dignity
—
it was all my child. Even if I die
from your sorrow to escape pain, My cries and sighs will
burn my shroud in the grave. All is over
—
no patience
or endurance remains,
The House of Grief now weeps from its own wailing. I
can do nothing
—
I am bound. My soul, my child
—
now
patience is my only remedy.
Almost every couplet of the ghazal features examples
of poetic devices. In the first couplet, likening the son
to the moon in the constellation of Cancer, in the eighth
couplet, comparing the teardrops falling to the ground
with tulip gardens, and in the tenth couplet, likening
the child to the treasure of the heart and the light of
the eye
—
all exemplify the poetic device of tashbih
(simile). In the second couplet, the expressions "Desert
of Doomsday" (Qiyomat dashti) and in the fifteenth
couplet, "House of Sorrows" (Bayt ul-axzon) represent
the use of isti‘ora (metaphor). Additionally, the word
“Mahshar”
in the same second couplet illustrates the
use of talmeh (allusion). In the third couplet, the words
"autumn" (xazon) and "rose garden" (guliston), and in
the fourth couplet, the words "pain" (dard) and
"remedy" (darmon) demonstrate the poetic device of
tazod (antithesis). In fact, the entire ghazal is framed as
an invocation to the child, employing nido
(apostrophe), though it is especially evident in
expressions such as “Ey tuganmas yuragimdin hasrati
konim bolam” in the fifth couplet, “Ey jonim bolam” i
n
the tenth, and “Ey bolam” in the twelfth. The line in the
sixth couplet, “This has been the case since ancient
times: the good are destined to perish,” exemplifies
irsoli masal (proverbial reference). In the seventh
couplet, the words “shouting,” “lament,” and “wailing”
indicate
the
use
of
tanosub
(semantic
correspondence), which also appears in the thirteenth
couplet through the words “my fate,” “my value,” “my
ornament,” and “my honor.” The repeated words
“drop by drop” in the eighth couplet and “your pain,”
“from pain” in the eleventh couplet represent the
poetic device of takrir (repetition).
It is well known in literary studies that “the lyrical hero
is the person whose emotions and experiences are
portrayed in a lyrical work; he represents the poet’s
emotions and thoughts that are valuable to society. He
is a fusion of the poet’s personality and aesthetic ideal.”
This definition is clearly illustrated in the monologue of
Sultan Ibrahim in the story: “If you are of the Ummah
of Muhammad, listen to my words. I do not weep for
my son, but because one does not know sorrow until
one has endured it. I rejoice in my solitude, for whoever
remembers the Prophet’s solitude and weeps in his
own solitude, God will free him from Hell.” Based on
the content of the text, it can be concluded that the
objectivity of the lyrical hero’s experiences also reflects
the poet’s subjectivity. In other words, the reality
expressed in the monologue is portrayed through the
lens of the poet’s personality.
Sultan sets off on a journey and begins to live in the
Qabis Mountains. Filled with sorrow, the father finds
solace for his broken heart by making an annual
pilgrimage to the Kaaba. During one such pilgrimage,
American Journal Of Philological Sciences
243
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
Sultan Ibrahim ibn Adham, by the will of Allah and when
his time comes, passes away in that very place and is
buried there. After these events in the work, the ghazal
beginning with the line “They have departed from this
world, the beloved ones...” is presented.
This particular ghazal is written in the ramal
musamman mahzuf meter (its meter pattern is:
foilotun, foilotun, foilotun, foilun; scansion: // - V - - / -
V - - / - V - - / - V
–
//) and consists of five couplets
(bayts). The words “gumrohlar” (the misguided),
“shohlar” (kings), “mohlar” (moons), “ohlar” (sighs),
“ko‘tohlar”
(shortcomings),
and
“hamrohlar”
(companions) form the rhyming words (qofiya), with
the consonant “h” serving as the ravi (repeating
consonant), thereby producing a mutlaq qafiya
(complete rhyme).
It is important to note that in poetry, rhyme functions
as a device of artistic expression. Clearly, the rhymes
mentioned above
—“gumrohlar”, “shohlar”, “mohlar”,
“ohlar”, “ko‘tohlar”, “hamrohlar”—
contribute to the
poem’s beauty, pleasantness, musical fluency, and
emotional impact. Furthermore, rhyme also serves the
content, helping convey the core message of the
ghazal. Indeed, rhyme acts as a poetic device that
enhances the artistic and ideological qualities of a
work. For this reason, like many other poets, Huvaydo
also paid particular attention to rhyme.
Now, let us examine the matla (opening couplet) of the
ghazal:
O‘tdilar bu dunyodin dilxohlar, gumrohlar,
Qolmadi dunyoda boqiy gadolar ham shohlar (pp. 109
–
110)
Meaning of the matla (opening couplet): Both the
benevolent and the misguided have passed away from
this world, yet neither the beggar nor the king
remained eternal in this transient life. In this couplet,
the poetic device of tazod (antithesis) emerges through
the contrastive words such as “beloved” (dilxoh),
“misguided” (gumroh), “beggar” (gado), and “king”
(shoh), while the repetition of the word “dunyo”
(world) reflects the use of takrir (repetition). The
completeness of the matla’s content is ensured by a
specific poetic criterion
—
namely, the use of traditional
artistic-expressive means. Indeed, in the science of
poetics, the expressive means referred to as “poetic
devices” or “artistic devices” fulfill specific poetic
functions within the structure of a poem and occupy a
prominent place. This has also been emphasized by
Aristotle in his work Poetics. In the same way, we
observe throughout the ghazal that Huvaydo employs
poetic devices not only to convey the central idea of the
work, but also to depict the inner world of the lyrical
hero, to logically develop the course of events, and
—
most importantly
—
to enhance the aesthetic appeal of
the text.
Hasrato, ey do‘stlarim zolim o‘limning zulmidin,
Bu qaro yer ostig‘a kirdi bori ul mohlar.
Nogahon olsa yaqongdin qo‘ymag‘ay dam urg‘ali,
Hech osig‘ qilmas sanga qilsang fig‘onu ohlar.
G‘ofil ersang qil
ibodat berma dunyoga ko‘ngul,
Berdi dunyog‘a ko‘ngulni aqlkim ko‘tohlar(109
-110-
betlar).
Content: Alas, dear friends, even those with moon-like
faces descend into this dark earth under the tyranny of
cruel death. When death suddenly seizes you by the
collar, no matter how much you cry or lament, there
will be no escape
—
it will not rest until it takes your
soul. Know that only the short-sighted grow attached
to this false world; and if you are unaware of this truth,
it is time to turn away from the world and dedicate
yourself to worship. In the second couplet of the
ghazal, the phrase “ey do‘stlarim” (O my friends)
represents the use of nido (apostrophe), while “ul
mohlar” (those moons) is an example of tashbeh
(simile). In the fourth couplet, the repetition of the
word “dunyog‘a” (to the world) exemplifies the poetic
device of takrir (repetition), and the words “g‘ofil”
(heedless) and “ko‘toh” (short
-sighted) demonstrate
tanosub (semantic correspondence). Now, let us turn
our attention to the maqta (closing couplet) of the
ghazal:
Dunyo hasratxona erur, ey Huvaydo dunyodin,
Hasrat ila o‘tdilar ming
-minglabo hamrohlar
The meaning of the couplet can be interpreted as
follows: O Huvaydo, this world is essentially a house of
sorrow. Along with that sorrow, countless companions
have passed away. In this bayt, the word “ming
-
minglabo” (countless) exemplifies the use of the poetic
device mukarrir (intensification through multiplicity),
the repetition of the word “dunyo” (world) reflects
takrir (repetition
), and the expression “Ey Huvaydo”
illustrates the device of nido (apostrophe). Through this
beautiful imagery, the poet conveys a subtle and
profound meaning. It is evident that the ghazal calls
upon the reader to refrain from attachment to this
transient world and instead to prepare for the afterlife.
From this perspective, the poem is considered a Sufi
ghazal.
In the continuation of the narrative, it is told that Sultan
Ibrahim had a faithful disciple, and one night, the
disciple saw him in a dream. He a
sked, “How are you?
What happened to you inside the grave?” Sultan
replied that God was gracious to him, that he
experienced no torment, that he was granted a place
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244
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
equal to the Throne
—called Bābu
-sh-Shams, and that
on the Day of Judgment, Allah promised to show him
His Divine Countenance. The poet uncovers new
dimensions of traditional imagery and creates rare,
tempestuous expressions of spiritual states. Following
this, the ghazal with the radif “Kishi” (refrain
“someone”) is presented. This ghazal is wri
tten in the
rajaz musamman salim meter (metrical foot:
Mutaf’ilun,
mutaf’ilun,
mutaf’ilun,
mutaf’ilun;
scansion: //
–
–
V
–
/
–
–
V
–
/
–
–
V
–
/
–
–
V
–
//) and
consists of three couplets. The words “urg‘on”,
“ko‘rgan”, “olg‘on”, “olg‘on” are rhyming word
s
(qofiya), while the consonant “n” serves as the ravi,
resulting in a muqayyad qafiya (constrained rhyme).
The matla (opening couplet) of the ghazal is as follows:
Dunyoni tark qiluvchi uqbog‘a yuz urg‘on kishi,
Jannat ila hurni netar mavlo yuzin ko‘rgan kishi110
-
bet).
The meaning of the matla (opening verse): A person
who has turned away from this transient world and
directed themselves toward the eternal afterlife does
not desire paradise or houris
—
it is enough for them to
behold the Divine Countenance of Allah. In the verse,
the words “dunyo” (world) and “uqbo” (afterlife)
create an antithesis, while the words “jannat”
(paradise) and “hur” (houris) reflect the poetic device
of correspondence (tanosub).
Kim be
xabardur mavlodin mag‘rur erur dunyog‘a,
Dunyoning mulkin naylasin ondin xabar olg‘on kishi.
In the second bayt (couplet): It is said that whoever
walks arrogantly through this transient world, unaware
of God, will lose interest in worldly pleasures once they
become aware of Him. This shows that Huvaydo strived
for diversity in composing his ghazals, employing
various poetic devices. In this verse, the words
“bexabar” (unaware) and “xabar olgan” (aware)
represent the poetic device of antithesis (tazod), while
the repetition in structure also clearly demonstrates
the use of the poetic device tasbe’.
Fag‘furi qaysar mulkni boshig‘a ursunmu oni,
Netsun Sulaymon taxtini ishq taxtiga mingan kishi.
In the maqta (final couplet), it is said: “For the one who
is enthroned upon the seat of love, even the throne of
Solomon holds no value; would he care for the kingdom
of the Emperor of China?” The use of the names
“Solomon” and “Faghfur
-
i Qaysar” (Emperor of China)
reflects the poetic device talmeh (allusion), while the
phrase “ishq taxti” (the throne of love) represents the
use of istiora (metaphor).
At the end of the tale, the reader is urged to always
endure with patience. It is mentioned that Azrael was
expelled from paradise due to his lack of endurance.
Furthermore, eight categories of people are listed as
those barred from the gates of paradise: 1) Unjust kings
2) Miserly rich men 3) Adulterers 4) Those who died
without repentance 5) Gamblers 6) Those who
consume the property of the poor claiming it lawful 7)
Those who are devoted to sinful acts, declaring them as
lawful
The poet emphasizes that such people will not even be
able to comprehend the nature of paradise.
In conclusion, it can be stated that the poet masterfully
integrates historical and Sufi knowledge throughout
the narrative. Additionally, poetic devices such as tazod
(antithesis),
takrir
(repetition),
tanosub
(correspondence),
nido
(exclamation),
tasbe’
(paronomasia), and talmeh (allusion) significantly
enhance the expressive power of the ideas, ensure
harmony between poetic content and form, and serve
as essential tools in revealing the poet’s creative
intention. Therefore, these artistic devices act as
unique poetic innovations that contribute to the charm
of the language, highlighting Huvaydo's exceptional
literary mastery.
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