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ABSTRACT
The article talks about the characteristics of the works of the poet - Boborahim Mashrab, his creative style, his
language and manner of expression, his skill in using artistic means of speech and imagery.
KEYWORDS
Style, poetry, meaning, work, language, theme.
INTRODUCTION
Even though Boborahim Mashrab's lyrics were not
written in a special style, his legacy has come down to
our times through many copies of Mashrab's Tale. He
wrote poems and ghazals under the pseudonyms
Rindi, Umam, Mahdi, Zinda and Mashrab. In the
sources, Mashrab's nickname is interpreted in different
ways. It is assumed that only two of its meanings are
close to the truth, because they serve to complement
each other's content.
Mashrab - maslak means co-relationship. There is a
similar explanation in "The Story of Mashrab":
"Whoever is my friend, I will befriend him. Whenever I
fall into a pot, I boil it, that's why I named myself
Mashrab" (p. 32). So, with his words, whoever is my
friend, I am his friend, expresses his opinion on the
unity of the ideological path, as well as solidarity. This
nickname can also be interpreted as "Partner of divine
wine", a heart familiar with divine love will certainly
Research Article
IDEOLOGICAL FEATURES OF MASHRAB'S POETRY
Submission Date:
February 19, 2024,
Accepted Date:
February 24, 2024,
Published Date:
February 29, 2024
Crossref doi
https://doi.org/10.37547/ajps/Volume04Issue02-16
Hikmat Sultonovich Hikmatov
The Teacher Of The Department Of Uzbek Literature Of Chirchik State Pedagogical University, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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guide people to goodness. He guides them to find the
right path.
One of the best representatives of Zullisonain tradition
- Boborahim Mashrab created his works in two
languages - Uzbek and Farsi-Tajik.
Controversial opinions have been expressed about the
poet's work for many years. Conflicts of opinion were
caused, and as a result, the essence of his poems were
evaluated objectively, truthfully and without politics in
recent years. This is a valuable discovery, because the
real image of Mashrab as a creator is revealed in his
poems.
He is a Sufi poet. In the background of the creation and
content of the content of his poems, the interpretation
of Sufi ideas was hidden. So what is Sufism itself?
Sufism is the science of knowing and loving God
through self-knowledge. It is "a science that
investigates the inner world of a person, that is, his
soul."[1] A person can be any kind of appearance, but
if he is self-aware and self-righteous, he becomes a
truth-seeker, which brings more benefits to the
society. The period of human life consists of the
struggle of two opposing forces - good and evil. The
essence of the teaching of Sufism is to expose the
human passions that exist in his div, to show the
ways to overcome them, to awaken the divine qualities
of the soul and to develop them. Because the main goal
of human life is to become divine, to reach the Truth,
that is, to the original essence. For this, there is only
one way, which is revealed in these three contexts,
that is, breaking the ego, transcending oneself, and
recognizing oneself. In this regard, Bayazid Bistomi's
conclusion in "Nasaym ul-Mohabbat" is very
instructive:
"...Boyazid said, I saw the Almighty God in a dream, I
asked him, O God, what is the way to you. He said, "Get
over yourself, come to yourself.".[2]
One of the central and most basic ideas of Mashrab's
poems is the interpretation of human self-awareness
and self-awareness. He, who during his life traveled to
many countries and observed the way of living and the
different nature of people of different classes, came to
the conclusion that the main reason for all the
tragedies that befell them is their own ego. That's why
he chooses the path of the Qalandar as an example to
inform his contemporaries and relatives about the
essence of the world he perceives.
In literary studies, the Qalandari way, which some of
the creators of the field of literature considered to be
the correct and acceptable way, has not been properly
explained. Hence, it is very important to know the
conditions and requirements of the Qalandari style in
understanding the meaning of Mashrab's works.
Sometimes, the work of a poet is subject to
interpretation and explanation, and the content of his
poems, which has a religious tone, remains out of sight
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and its meaning is hidden. It should be emphasized that
the legacy of our classical music is closely related to the
religion of Islam, including the creation of Mashrab,
their interpretation requires knowledge of religious
concepts and Sufism.
In some of the sources and scientific researches, there
are rarely comments on its essence, and even today
scientific researches are being carried out by some
researchers of the science of literature. These were the
reasons why Mashrab's poems were sometimes not
properly evaluated until later years. Or there was a limit
to the influence of modernization in his understanding
of the meaning.
The term qalandar is explained in the dictionary of
Navoi's works as follows: "A qalandar is a dervish who
renounces all worldly existence and wanders; He is a
crazy and careless person." Although this explanation
partially clarified the essence of the term, it cannot give
a complete idea of the Qalandari maslak. Although in
the first place, Navoi's words are valid.
In the science of literary studies, there are various
debates about Qalandar and the way of Qalandar. A
group of scholars believe that it was formed in the XIII-
XIV centuries, but some others, including Fitrat, also
say that it appeared in the XII-XIII centuries after the
era of Ahmed Yassawi.
As for explaining the specific characteristics of
Qalandari, many researchers have different and
complementary views. For example, in "Haft Qulzum"
it is stated: "Qalandar is the name of a person who is
free from any formal invitations, any notes, separated
from various religious customs and actions, as well as
abandoning material and life ties and all customs and
worships destroys".
Maulana Abdurrahmani Jami in "Nafahat ul-uns"
explains it as follows: "Qalandars perform the
obligatory parts of religious worship." ...Malamatians
perform religious worship, but they hide it from the
people. As for the Qalandars, they directly violate
religious rituals."
In "Bahor Ajam" the following verse is given:
Don't tell me the name of the leader.
For a long time, I saw the path of the beggars.
If we observe the occupations and activities of
Qalandarians and summarize what has been said about
them, we will see that the characteristics of several
sects are connected in their path. In particular, in their
way of life, the commonality of customs and traditions,
some signs of blame and the correlation of universal
ideas, the humanity characteristic of role-playing can
also be observed.
Qalandars had their own unique behavior, manners
and clothing. There are requirements and conditions
that they must follow. The work "Qalandari treatise" is
also kept in the collection of Sufism manuscripts under
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the number 9175 at the Institute of Oriental Studies
named after Buruni of the Academy of Sciences of the
Republic of Uzbekistan. It provides brief information
on the conditions that applicants must comply with. In
particular, the concept of poverty, which should be
formed in the behavior of the people of Qalandar, is
emphasized. It emphasizes 3 important signs: "The
scholars of the Tariqat said that poverty has three
signs: kind as the sun, generous as the rain, and humble
as the earth."[3]
Wearing a hijab and receiving the status of poor were
considered important in the calendar system.
Qalandars had special clothing habits, such as a jacket,
a hat, a belt, wearing a hat, a scarf, standing on a
tripod, resting, and wearing skin. Each of these had
symbolic meaning and strict responsibility. In the
thesis, the hat, which is considered a dervish headgear,
is explained in detail. The most important quality of its
essence is indicated as follows: "And you know that the
hat has four houses. 1. The house of the law. 2. The
house of the religion. 3. The house of knowledge. 4.
The house of truth. And again, the hat has four leaves.
1. Leaving soul. 2. Leaving people. 3. Leaving this world.
4. Leaving the hereafter."[4]
After all these pointers and information, the essence of
Qalandarology is briefly presented at the end of the
thesis: "Dervish, Qalandar's rite is not to hesitate on
the path of truth and not to talk to people in vain. And
again, the etiquette of carrying a cough is to be clean
and fast before reaching home. And on the way, he
should not look at the four sides and at the non-
mahram. And keep your tongue from lies, do not
disrespect the elderly, have mercy on the poor and
keep all your organs clean, because Qutb Khwaja
Bahaul has done this in the true spirit of God, and this
is what he commanded.[5]
Fitrat, a mature literary scholar, got acquainted with
many sources related to Qalandari. He recalled the
situations he witnessed in life and compared them.
Summarizing all of them, he made the following
conclusion: "Qalandar is a branch of Muslim Sufism.
This practice continued in our country until the
following days. Outside every city of Uzbekistan, there
was a place called "Qalandarkhana", which turned it
into a beautiful garden. A beautiful garden. There lived
beggars. Some of them were local people, some of
them were travelers, landless people, who did not have
private property, whose main occupation was begging.
Twice a week, he went around the cities and markets
to beg. they played. They had typical Qalandari
melodies. Among them, those who had the best voices
read the poems of the poets Yassavi and Mashrab, and
others sang its verses. Among them was a chief who
was called "grandfather". The money collected during
begging was happening, these grandfathers collected
and provided for them"[6].
Thus, the ideas of the above sources help to
understand the essence of archeology. It goes without
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saying that their appearance gives an idea of their inner
world. In classical literature, some creators also
created works of art that clarify the purpose and
essence of poetry. In particular, Boborahim Mashrab
also created many poems and ghazals, clearly
explaining their humanitarian ideas. His ghazal along
the lines of "Qalandar Bul, Qalandar Bul" is one of such
works. This work can be the basis for understanding
the content of the Qalandarology and the study of
Mashrab's creativity. Here, the lyrical hero shows the
way to reach the original goal, to be spiritually free. In
his precious works, Boborahim Mashrab preaches and
encourages liberation from the pleasures of the mortal
world, and also teaches the ways to be blessed in the
next world.
If you want me to be free, if you want me to walk freely,
If you want to travel the world, stay, stay.
If you want to burn the truth, if you want to kill the
error,
If you say to sweep Hamasin, be a qalandar, be a
qalandar…
The life line of Boborahim Mashrab can be compared
to a huge endless road full of ups and downs. Because
there is no ready and smooth road in life for anyone.
Everyone finds their own way. Sometimes obstacles
arise in this process. In other cases it works fine.
Sometimes, errors and mistakes become painful. A
person does not know what awaits him four steps
away. In such cases, literature is a guide that frees a
person from these entanglements. This is the only
great legacy our ancestors have left for us.
Hazrat Sheikh Saadi observed the human life with
dreams and said: "Oh, I wish that a person was given
two lives, the first time he would draw conclusions
from mistakes and mistakes and learn from
experience, and the second time, as he wanted, he
would live with dreams without dreams".
Hazrat Alisher Navoi also expressed the same opinion
as follows:
Yarab, ul gadomen at your door,
Kim, I'm wrong from head to toe.
It is clear from the content of our precious literature
that our great and learned, intelligent and wise people
have also suffered from the exiles of the world. And
they have dedicated their whole lives to show the right
path to their peers. From here, they were called to self-
awareness, vigilance and patience.
Boborahim Mashrab is among such wise creators. But
the understanding and understanding of the world in
his worldview has its own strengths. The lyrical hero in
his poems has a high spirit. When it comes to man and
the world, he draws deep conclusions with firm
conviction. He also knows that the world consists of
mistakes, dreams and lies. However, this does not
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discourage the lyrical hero of the poet. Because he
understands very well that in the context of these
mistakes there is only one truth that can be trusted and
relied on. This is Allah:
All are strange except one god, Mashrabo,
If there is a flower in my hand, why not a thorn!
God is more than a believer, his lover is more certain
than human error. Wow, the content of Ba's life is
beautiful, thank you. A person has perfect morals,
honesty, and purity.
Another reason for his idea is that when he looked at
Mashrab, he created the Buddha's world. Alas, most of
the people do not understand the meaning of life,
which is more important than the knowledge and
understanding of life. After all, you will appreciate
every moment of your life and enjoy every moment of
perfection. Ghair az in Mashrab dar asarhoi khud ba
masala and problemhoi olamsummul attention kalon
medihad. Oh man, you are so careless and sleepy. Ū
rūhhoro ba zindavu dorī tashviq mekunad. Every
student, who knows the poet's thoughts, feels that
there is a lot of passion and enthusiasm. God is looking
closely at the poet's every drawing and every creation.
What kind of a beautiful singer, who looks at
everything around him, knows what dreams he has and
what steps he takes, how can he feel happy?
Let mountains of salt cry for my longing,
No one understands my words,
The same must be said, what disturbed Mashrab's
heart was the indifference of the people. Mashrab
accepted the "sad heart" and suffering people with
perfect manners. Painless people made him sad. The
poet was able to describe a deep spiritual scene in the
two lines of the above-mentioned poem. The main
content is mental and spiritual loneliness. Silence is
always a lonely companion. The mountains keep the
secrets of the years in their chest, in the chest of
silence. His timeless tales are worth listening to and
understanding. So, the poet did not use the image of
the mountain in vain. He perceives the eternal reign of
this silence with a delicate poetic heart. He sees in it the
image of his loneliness, that is, his mental loneliness.
He compares the stream flowing from his chest to his
tears. He feels that the mountains, which have seen
many past generations, sympathize with him. Among
the people, he also welcomes intelligent and
mysterious people. This desire reminds him of his
loneliness. However, this is not a sign of
discouragement. This kind of situation, which seems to
the reader to show a sense of depression, but in fact,
in the image of Mashrab's lyrical hero, is a spirited
person in love. On the contrary, it raises the spirit of the
lyrical hero. It leads to the subjugation of the soul and
the world of existence. He feels his identity as a
stranger far from God. He feels alone and lonely. As a
result, his target address, the field of his efforts
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expands. His existence is covered by the unity of
existence.
As we mentioned above, the main purpose of
Mashrab's poems is to wake people up. Also, it is to
guide them to mutual love, mutual understanding and
understanding of Allah. From the point of view of the
poet, every heart is a mysterious world. He calls his
contemporaries to love themselves and to love each
other over the past. Hurting someone's heart is like
breaking a hundred Kaaba. Understanding the heart
and purifying it is a means of bringing a person closer
to God. Because, just as a soulful light spreads from a
dust-free pipe, in a pure heart, the good news of divine
love, love of life, love of beauty emerges. Such an
interpretation of divine love can be clearly observed in
her work. However, for many years, his works, which
develop the essence of divine love, have been
evaluated in a limited sense, that is, as metaphorical
images of love. "Anti-religious themes" in the poet's
work are also the result of a one-sided interpretation.
In addition to this, in Mashrab's work, the teaching of
love has many unique features. According to him,
understanding the heart and keeping it clean is a
means of closeness to Allah. Because just as a reed
reed that has been cleaned of dust emits a soulful
sound, from a cleansed heart, the sound of divine love,
as well as the love of life and love for beauty, is sung.
However, for many years, the works that developed
the essence of divine love were evaluated as
metaphorical images of love. The introduction of "anti-
religious spirit" to the poet's creativity is also a result
of it...
Boborahim Mashrab cannot agree with the thoughts
and actions of hermits on the basis of divine love.
Because in his opinion, an ascetic is a greedy person in
God's presence, who is searching for paradise day and
night. This is why he does not replace the ascetic prayer
with a glass of wine.
Hermit, drink me a bottle of may, pray for you,
I sold a thousand taqvins for a cup of may.
Along with being a mature thinker and Sufi poet who
propagates Sufi ideas, Mashrab also appears as a
singer of ordinary human experiences. In his works, we
can see the sincere expression of such experiences,
such as longing for the homeland, the feeling of being
indebted to the mother.
The artistic use of Mashrab's works is also unique. His
ghazals are polished with unexpected folk expressions.
While reading the poet's poems, a person feels the
saffron color of Hijran in his heart:
If I see your yellow rose sweet face once a day,
I will not turn away if I see a hundred thousand
troubles.
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People say that the yellow flower is a symbol of
migration and separation. Such new similes, series of
symbols can be cited from the poet's poems.
And of course, it is regrettable that the poems of such
new poets have not been discussed properly, that is, in
detail, until the present era. And even in any source or
sources, at least none of his songs and ghazals have
been analyzed or properly explained. Only one ghazal
of Mashrab was explained in detail by Najmiddin
Rashidov. What is more, the commentator gives the
following during the explanation of the verses:
"Boborahim Mashrab considered himself a singer of
the love of Allah, his claim was proved by the
explanation of his ghazal, in which Adam (pbuh) to
Muhammad Mustafa (pbuh) are mentioned. In the last
stanza of his poem, the poet emphasizes that it was
God's unique grace that he gained knowledge of divine
knowledge and became a singer of the Lord. Wahama
has acquired his wealth due to the pure and unique
love of Almighty God:
Everyone will say: "Mashrab, from whom did you learn
so much knowledge?"
God bless you, I taught everyone on Mavladin.[7]
The rich and priceless poems of Boborahim Mashrab
indicate that he was well aware of the classical works
of Persian-Tajik literature and was inspired by them in
the process of creating, and created poems and
ghazals in the Uzbek language and partly in the Tajik
language. It should be noted that the poet even wrote
in the "milk and sugar" style. Such valuable services of
Mashrab are appreciated today and his Uzbek works
are translated into Tajik by many fans and enthusiasts
of his work. It is true that every translator has his own
style and taste, so there is a similar variety of taste
among the translators of Mashrab's poems. In the
translations of Vahab Hakimov, you can see the
simplicity of the true poems of Mashrab himself. For
example, it is enough to look at one of his ghazals:
My heart is very disturbed by his death.
If I don't see him, he is the same on the ground now...
I sympathized with the dogs, poor Mashrab,
God, God, it's amazing grace and kindness today..[8]
In conclusion, it can be said that Mashrab, like the
previous Zulli writers, was a continuation of the
traditions of Uzbek and Tajik classical literature in
creating poems and ghazals and in creating high
meanings and contents. His distinctiveness is more
evident in the fact that he acted directly as a
representative of the Qalandari style, and sometimes
he chose a unique style in the style, tone and charm of
the poem. He masterfully and expertly used artistic
arts such as similes, similes, metaphors, sarcasm,
symbols, and traditional poetry templates. And even in
some of his ghazals, he used several types of art at
once, embellished with pleasant rhymes and rhymes.
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REFERENCES
1.
Komilov N. Sufism. 2-book. Tashkent, 1999. 194-
page
2.
Alisher Navoi. Works. 15 roofs. 15 pages and 79
pages
3.
Risolai Qalandary //"Youth". 2000. No. 3. Page
46
4.
Risolai Qalandary //"Youth". 2000. No. 3. Page
47
5.
Risolai Qalandary //"Youth". 2000. No. 3. Page
47
6.
Phytrate. Selected works, Volume 2, Tashkent,
2000. Page 50
7.
Bobrahim Mashrab, "Kullyot", Tashkent,
"Muharrir" publishing house, 2017.
8.
Vahob Hakimov, "The Desire of the King of
Mashrab", Samarkand, "Loiqi Ozod" ed., 2023,
pp. 78-79
