Volume 03 Issue 12-2023
51
American Journal Of Philological Sciences
(ISSN
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2771-2273)
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Publisher:
Oscar Publishing Services
Servi
ABSTRACT
Khamsanavis is one of the most beautiful and rich traditions of Eastern literature. As a result, the treasure of spiritual
heritage created by mankind has acquired many rare masterpieces. At the same time, the masnavis created by great
thinkers of words had a significant impact on the formation of the culture, lifestyle and spiritual image of the peoples
of the East. It is no secret that representatives of Turkish-language literature also have a worthy place in this process.
Qutb Khorazmi, Mavlano Haydar (Khorazmi), Poshshohoja, and especially Alisher Navoi, who showed zeal to follow
the traditions of Nizami Ganjavi to one degree or another, created invaluable works based on the themes of Uzbek
classic literature, which have been moral and spiritual perfection for many centuries. has been serving on the way.
KEYWORDS
Tradition, civilization, Persian-Tajik literature, classical literature, famous, friendship, thinker, creative thinker, Navoi
studies, analysis.
INTRODUCTION
In order to further develop Uzbek classic literature,
which is the pride and honor of our nation, on the
international stage and further develop it on the world
scale, the decisions made by the head of our state, the
honorable
President
Shavkat
Miromonovich
Mirziyoyev, are of great importance.
The opinions expressed in the address of our
honorable president to the Oliy Majlis impose a great
Research Article
KHAMSA WONDERFUL APPLIED BY "MAKHZAN UL-ASROR" AND
"MAJMA UL-AKHBOR"
Submission Date:
December 03, 2023,
Accepted Date:
December 08, 2023,
Published Date:
December 13, 2023
Crossref doi:
https://doi.org/10.37547/ajps/Volume03Issue12-09
Shahnoza Karimova
Tashkent State University Of Uzbek Language And Literature Named After Alisher Navoi, 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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responsibility on us teachers. In recent years, great
attention has been paid to the restoration of national
values and the spiritual development of the mature
generation related to the history of classical literature.
The history of the epic poetry of the Muslim East is
closely connected with the tradition of Khamshalik.
The genre of hamsa, which first appeared in the 12th
century, has had hundreds of epics for nearly eight
centuries. The first person to write "Khamsa" in
Eastern literature is the great Azerbaijani poet Nizami
Ganjavi. Between 1170 and 1204, he created 5 epics one
after the other, which after the poet's death were
combined into a single collection called "Panj Ganj"
("Five Treasures") and later became known as Khamsa.
To write "Khamsa" it is necessary to follow the
following rules:
1. It consists of five epics.
2. The first epic is, of course, an educational, moral,
philosophical part in the spirit of instruction.
3. The second epic is devoted to the conflict between
Khusrav and Shirin.
4. The theme of the third saga is the love between Laila
and Majnun.
5. The fourth epic had to be written about Bahram, and
the fifth about Iskandar.
Alisher Navoi also followed the tradition of Nizami
Ganjavi in this regard. Most importantly, Navoi's
"Khamsa" was written in the Turkish-Uzbek language,
which made it possible for Turkish-speaking readers to
enjoy it. If Nizami Ganjavi wrote "Khamsa" in Persian
language in 27 years (1174 - 1201), Navoi finished
"Khamsa" in Uzbek language in more than two years
(1483 - 1485).
In the history of world civilization, especially in the
East, the tradition of Hamsa and Alisher Navoi's
"Khamsa" are of great importance in the development
of Uzbek classical literature. The epics included in
"Khamsa", which is considered the gold standard of
Eastern epic poetry, have always interested the
peoples of the Muslim East. That is why many people
tried to write "Khamsa" during the Eastern
Renaissance. Azerbaijan scientist, doctor of philology
Ghazanfar Aliyev found out that about 300 artists
wrote a specific response to Nizami's Five in this period
and created his monograph "Themes and plots of
Nizami in the literatures of the peoples of the East ".
LITERATURE ANALYSIS AND METHODOLOGY
The first version of Nizami Ganjavi's epic "Makhzan ul-
asrar" in Turkish is the epic "Makhzan ul-asrar" written
in 1409 by Haydar Khorazmi dedicated to Sultan
Iskandar. A number of scientists, such as A.
Abdugafurov, B. Valikhojhaev, E. Rustamov, J.
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Sharipov, A. Hayitmetov, conducted scientific research
on the epic.
Doctor of Philology E. Rustamov in his doctoral
dissertation and fundamental research entitled "Uzbek
poetry in the first half of the 15th century" wrote some
stories in the works of Haydar Khorazmi, Nizami's
"Makhzan ul-asrar" and Alisher Navoiyn's "Haydar ul-
abror". Haidar's work compared to some stories in
It is said that it was written as a response to Nizami's
Makhzan ul-Asrar.
Doctor of Philological Sciences A. Abdugafurov, as one
of the best examples of Uzbek satire before Navoi,
conducts research on some stories in "Makhzan
ulasror" by Heydar Khorazmi. In particular, he analyzes
the story of the gray weaver from the play about the
old woman and the old lady.
He evaluates Makhzan ul-asrar as a work of translation.
Major literary critic, doctor of philology, academician
Botirkhan Valikhojhaev in several of his works, in
particular,
In works such as "From the history of Uzbek epic
poetry" (1974), "History of Uzbek literature" (1993),
"Malik ul-kalam Mavlano Lutfiy" (1999), Haydar
Khorezmi expressed remarkable thoughts and
opinions about his life and work. The scientist writes
about the work: "This work of Haydar Khorezmi is a
philosophical and moral epic, which was created as a
result of creative inspiration from the work of the same
name by Nizami Ganjavi. From this point of view, it is
not considered as a special work expressing literary-
critical views. But in it, the author also correctly stated
his opinions on some issues of artistic creativity, which
are useful to review." Because in these views, Haydar
Khorezmi's views on poetry and poetry are reflected.
In a sense, this indicates that the poet had a critical
attitude towards his own work, and tried to preserve
the artistry of the work at the level of Nizami's epic. His
critical opinions in several places of "Makhzan ul-asrar"
are important for today's literary studies.
In 1974, literary critic Nizom Abdullayev created a
comparative text of the work on the basis of his special
research on "Makhzan ul-Asrar" and analyzed it by
combining it with Nizami's epic. . In a certain sense, this
scientific work is significant for the creation of a critical
text, incorporating many studies created up to that
time. After all, despite the number of existing works
and their relevance, "many questions about Haydar
Khorazmi's life path, work and the epic "Makhzan ul-
asrar" still remained unanswered."
However, during the past time, many new ideas,
findings, views on the work of Haydar Khorezmi have
appeared, which in turn causes the interest in the
subject to increase even more. In this qualification-
graduation work
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Particular emphasis is placed on the common aspects
of the epic "Makhzan ul-asrar" with similar epics in
Uzbek literature, in particular with the epics of Navoi
and Khoja.
Sayid Qasimi is one of the poets who participated in
preparing the ground for the formation of the tradition
of khamsanavis in Turkish literature before Alisher
Navoi. The only manuscript of Sayyid Qasimi's literary
heritage kept in the city of Rampur, India was studied
monographically by literary scholar B. Qasimkhanov
from the point of view of textual and literary studies.
Scientist Sayyid Qasimi conducted a lot of research on
literary heritage. He identified the copy of the epic
"Gulshani Roz" stored in Tashkent and mistakenly
attributed to Navoi and compared it with the Rampur
copy. He announced the first results of the research in
his monograph "Literary-didactic epics of Sayyid
Qasimi" (1987). In 1991, the scientist defended his
candidate's thesis on the topic "Sayyid Qasimi and his
literary and didactic epics". In the dissertation, the
manuscript of Sayyid Qasimi's masnavis and their
ideological and artistic features are discussed in detail.
In particular, there are many analytical opinions about
the epic "Majma'ul-akhbar".
DISCUSSION AND RESULTS
Nizami Ganjavi made good use of the riches of the
national language and folk oral creativity in writing the
work "Makhzan ul-asrar". That is, examples from folk
proverbs, proverbs and wise sayings served as the
basis of the work. Ideologically, the work belongs to
the ranks of mystical, moral and didactic works. The
main motive in the narratives of the work is love, that
is, love for God. One of the important aspects of Nizami
Ganjavi's stories is that the system of images is built on
the basis of contrast. There is an art of tazad in every
story. In the above stories, characters such as the old
woman with the old man, Khotam Toy with the
reckless man, Mahmud Ghaznavi with the pir are an
example of contrast. Nizami Khorazmi made a
significant contribution to the development of poetic
narrative in Uzbek literature by creating the work
"Makhzan ul-asrar".
In the stories in "Makhzan ul-asrar" he put forward
philosophical, socio-political and moral educational
issues. His stories serve to educate a perfect person.
With this work, Nizami Ganjavi started a new era of
philosophical and didactic epics with a long history.
Nizami Ganjavi is a great scholar of his time with the
opinions
and
ideas expressed
artistically
in
"Makhzanul-asror", a poet who fought for the
development of the Uzbek language, deeply studied
Arabic, Farsi-Tajik languages, accomplished appears as
an enlightened person. It should be noted that it is a
necessary work not only for its time, but also for the
problems of the present time.
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The masnavis of the great thinker Alisher Navoi, who
raised the pineapple of khamsanavis to a high level, are
among the most copied, published and commented,
read and performed works in our country and abroad.
Alisher Navoi's epic "Hayrat ul-Abror" as a component
of "Khamsa" and as a separate work has been studied
by a number of Uzbek, Russian and other foreign Navoi
scholars and orientalists. Scientists such as S. Ayniy, A.
Fitrat, Y. E. Bertels, P. Shamsiyev, A. Hayitmetov, B.
Valikhojhaev, T. Jalolov, A. Qayumov, M. Muhiddinov,
A. Erkinov, D. Salohi, A. Khidirnazarov his services in
this regard are great.
In the monographs "Nizamiy" and "Navoiy" by the
Russian scientist E.E. Bertels, who studied Alisher
Navoi's life and literary heritage for the first time in a
monographic plan, the first epics of the Khamsa are
commented and their brief description is given.
Commenting on some socio-philosophical and moral
views of Navoi, the scientist compares them with other
sources.
Acad. A.P. Qayumov's monograph "Hayrat ul-Abror"
interpretation, published in 1976, also analyzed the
saga in detail. While commenting on the chapters of
the epic, their most important ideological and artistic
features are highlighted. However, this study does not
compare the chapters of Alisher Navoi's works with
the works of Nizami Ganjavi and Khusrav Dehlavi.
S. Khidirnazarov, one of the Navoi scholars, in his
candidate's dissertation on "Comparative architecture
of the epic "Hayrat ul-Abror", defended in Samarkand
in 1991, compared Navoi's epic "Hayrat ul-Abror" with
the works of Nizami Ganjavi, Amir Khusrav Dehlavi and
Abdurahman Jami studied (since it was not possible to
get acquainted with the text of the dissertation, an
auto-abstract written in Russian was used in the
graduation work).
It compares from the naming of epics to the contents
of chapters, articles and stories.
Doctoral dissertations of Professor M. Muhiddinov,
doctor of philological sciences, on the topic "Concept
of the Perfect Man in the First Epics of the Khamsa"
and
The monographs entitled "Perfect Man - Ideal of
Literature" are of particular importance, in which epics
written
by
Nizamiy
Ganjavi,
Amir
Khusrav,
Abdurahman Jami and Alisher Navoi are studied for the
first time in a comparative plan from the perspective of
the concept of "Perfect Man". While comparing the
introductory chapters, articles and stories of epics, the
master scientist also puts forward important
theoretical conclusions about the unique features of
Navoi's epic. One of the unique studies in this direction
is the scientific article "Ayla basirat kozi birla nazar" by
literary critic U. Zhorakulov.
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A number of studies on the text and editions of the epic
"Hayrat ul-Abror" also contain ideas related to the
above-mentioned chapters.
For example, O. Joraboyev's article "On the text and
publication of Navoi's poems (as an example of the
epic "Hayrat Ul-Abror")", S. Tahirov's "Some
comments on the architecture of Alisher Navoi's
"Khamsa", "Alisher Navoi's "Hayrat ul There are
important opinions on the topic in the scientific works
entitled "Abror" about some problems in the editions
of the saga. The scientist makes the following
conclusions based on the analysis of the content and
composition of the chapters in the epic "Hayrat ul-
Abror":
1. The first chapters of the epic "Hayrat ul-Abror" are
not only the introduction of this epic, but the
introduction of "Khamsa" in general.
2. The following epics are not a separate work, but a
continuation of "Khamsa".
It is also seen in the fact that it does not begin with the
verse "Bismillahir rahmonir-rahim" (not only the form
of the verse is meant, but also its content).
3. The last chapter 89 of the epic "Saddi Iskandarii" is
not only the conclusion of this epic, but the conclusion
of "Khamsa" as a whole, the chapter about "...the
revision of this Makhozin talisman to the itmom with
fortification".
The word "makhozin" (treasures, i.e. five treasures) in
this sentence confirms this idea. In this, Navoi calls
"Khamsa" a fortress consisting of five enchanted
treasures. This last chapter performed the function of
fortification (wall, molding tool).
After Alisher Navoi, the only work created in the
direction of Nizami's epic "Makhzan ul-asrar" is Khoja's
epic "Maqsad ul-Atvor". Information about Khoja's life
and work is mainly available in his son Hasan Khoja
Nisari's work "Muzakkiri ul-Ahbab". Samples of Khoja's
works are included in all the chrestomatizations
compiled from the history of Uzbek literature. In 1962,
samples from his collections "Miftah ul-adl" and
"Gulzor" were published in Tashkent by V. Zohidov and
S. Ganieva. Scientists such as B. Valikhojhaev, N.M.
Mallaev, A. Ibrohimov, M. Mirzaahmedova, I. Bekjon
have contributed to the study of Khoja's work.
Especially in this regard
M. Mirzaahmedova's monograph "Khoja" is of
particular importance. However, the epic "Maqsad ul-
Atvor" was not analyzed in this study.
The scientist who found two manuscript copies of the
epic "Maqsad ul-atvor" currently kept in St.
Petersburg, Russia, published excerpts from it, and
wrote a critical text is the Uzbek literary critic A.
Tohirjanov from St. Petersburg. Fragments of the epic
were published in the collection "Cry of the Centuries"
published in 1982. According to research, manuscript
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copies of Khoja's works are kept in the manuscripts
department of the Institute of Oriental Studies named
after Aburayhan Beruni of the Academy of Sciences of
Uzbekistan.
The only scientific article devoted to the comparative
analysis of the epics "Hayrat ul-Abror" and "Maqsad ul-
Atvor" is M. Mirzaahmedova's "Hayratul-Abror" of
Navoi and Khoja's "Lessons of Creativity" published in
1981. It is an article entitled "Works of Purpose". It
notes a number of common aspects in the composition
and ideological-artistic features of the two mentioned
epics. The scientist, in particular, writes: "A
comparative study of the analogical chapters and plots
mentioned in these two sagas shows that they found
their original interpretation in the pen of both
authors."
Sayyid Qasimi's epic "Majma' ul-akhbar" is the first
work in the manuscript cited by H. Sulaymanov, and it
is located after pages 1-29, i.e. on pages 30b-66b, which
are supposed to be lost. In the upper left corner of
page 30 a, there are the words "The first part of
Masnavi "Majma'ul-akhbar" is written in the weight of
Nizami's "Makhzan ul-asrar". Below it is the seal of
Riza's library. The text of the work begins with a
traditional hymn, after a very elegant, colorful and
golden title.
Sayyid Qasimi himself says that the work is a free
translation of Haidar Khorazmi's work "Makhzan ul-
asrar". Haydar Khorazmi's epic "Makhzan ul-asror" is
very close to Nizami Ganjavi's masnavi according to its
structure and genre. Both epics acquired a
philosophical and educational essence and were
written in the spirit of Aruz. Heydar Khorezmi's epic is
much smaller than Nizami Ganjavi's epic. The epic
consists of 639 verses and consists of 23 chapters. The
first 7 chapters of the work are traditional introductory
chapters.
The main part of the saga includes 16 chapters. They
contain sermons, articles and stories. Haydar
Khorezmi, unlike Nizmoy Ganjavi, summarizes the
story first, and then sums up the conclusions and
thoughts arising from this story.
The subject range of articles and stories is quite wide,
some of them are similar, some are completely new. In
contrast to them, Sayyid Qasimi in his narrations first
mentions the corresponding narration after the
Sarsukhan (the beginning of the word).
Sayyid Qasimi's epic "Majma'ul-akhbar" has traditional
chapters before the hymn dedicated by Sultan Abu
Said Mirza (1451-1469).
The first epic in Sayyid Qasimi's heritage is "Majma'ul-
akhbar", which is dedicated to Sultan Abu Sa'id Mirza,
the grandson of Amir Temur, the ruler of the time when
the poet lived. The epic consists of two introductions
and the main part. "Introduction" in turn includes five
chapters: Hamd (dedicated to God), na't (supplication
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to the Prophet Muhammad), chapter on the reason for
writing the book, hymn dedicated to Sultan Abu Sa'id
Mirza and Tamsil (example). The main part consists of
eighteen Sar Suhans (The Beginning of Words) and
eighteen narratives, one for each.
Sayyid Qasimi should be recognized as a mature poet
of his time, there are several reasons for this. First of
all, the poet writes the work according to the
traditional direction of his time, according to the
tradition of "Khamsa" epics, in the sare bahr of aruz.
Secondly, the poet states that while writing this work,
he wrote it in a way similar to "Makhzan ul-asrar" by
Heydar Khorazmi. The relevance of studying this work
lies in the fact that, although it is written in a traditional
or poetic style, the poet reinforces each story with a
single word from his point of view. The artistry of the
stories, the use of word games and the artistic arts
prove that the poet is the owner of a high talent. The
work of Sayyid Qasimi "Majma'ul-akhbar" (Complex of
News) that we want to study - this work contains
praise, na't, the reason for writing the book, the
description of the poet's own situation, the anthem of
Sultan Azam Abu Said Mirza and example, "The mouth
of the book" ” and “Fi tamsil” sections include 18
stories and corresponding 18 sarsukhans (prefaces),
which include the life of the people of the 15th century,
the social situation of the poet, and the events that led
to the writing of the work. The study of Sayyid Qasimi's
work can first be found in B. Kasimkhanov's "Sayyid
Qasimi's Literary Didactic Epics" and B. Qasimkhanov's
"Sayyid Qasimi Masnavilar Complex". Through this
work, Sayyid Qasimi describes the life of the people
and his spiritual and material condition through his
work, and we seem to understand the reason why the
poet's work was found late.
It is one of the peculiarities that the poet brings his
pseudonym to the section "The mouth of the book".
This can be said to be a unique style of the poet.
In terms of plot and composition, the stories in the epic
can be conditionally divided into stories of a social and
political nature, and stories of a moral and educational
nature. Sayyid Qasimi, while writing the narrative
genre in a traditional way, chose certain topics for
himself to highlight the important issues of the social
life he lived and created and criticized them in a
justified way. Mainly, he took people from different
social strata - kings, statesmen, scientists, dervishes,
folk heroes and legendary and historical figures who
were widely praised in folklore at that time - as the
main characters. Through these heroes, the poet
criticized all the negative vices of that time.
The creation of the work "Majma'ul-akhbar" is similar
to the structure of the traditional first epics in
Khamsanavis, but the poet managed to create another
example of this type of works, not exactly the copy of
the work "Makhzan ul-asrar" by Heydar Khorazmi.
While studying Sayyid Qasimi's work "Majma'ul-
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Akhbar", we witnessed that the main theme is pand -
advice, people's lifestyle, didactics, education. This is
because the poet, while illuminating the social life of
that time, took a special path in revealing its essence,
following his predecessors, he wrote a work in the type
of the first epics of the Khamsanavis of the period
before Navoi.
CONCLUSION
The tradition of khamsalik became more widespread in
the 15th century. It was a great test for individual poets
and for the literature of certain peoples and eras.
The literary environment of Khirat of the XIV-XV
centuries occupies a special place in the history of
Khamsanavis. About 20 artists tried their hand at
painting in this environment. Although all of these
artists did not create a complete "Khamsa", they
expressed their attitude to this tradition by writing a
response to one or another epic of the five.
In the history of Khamsa writing, six authors created
the complete "Khamsa", first of all Nizamiy Ganjavi
(1141-1209), a poet of Azerbaijan, the pioneer of Hamsa
writing, who rocked the cradle of Eastern classical
literature. His full name is Abdulhamid Ilyas ibn Yusuf
ibn Zaki Muayyad, and he was born in Ganja. His epics
included in "Khamsa" were created in 1170-1204, they
are: "Makhzan ul-asrar" ("Treasure of Secrets"),
"Khusrav and Shirin", "Layli and Majnun", "Haft
Paykar" ("Seven Goats"). hall") and "Iskandarnama" .
The name of Nizami Ganjavi has been popular among
our people since ancient times, and he has become the
poet of Uzbeks. All our classic poets, starting with
Alisher Navoi, considered him their teacher
Already in the middle of the 14th century, Qutb
Khorezmi skillfully translated his most famous epic
"Khusrav and Shirin" into our language. A century later,
Haidar Khorazmi created the work "Gulshan ulasrar" in
response to the epic "Makhzan ul-asrar" by the
founder of Hamsa. The great poet and skilled translator
Muhammadrizo Ogahi translates "Haft paykar" into
free prose. Shahi Hijran, the translator of "Shahnoma",
poet and writer, described the brief content of
"Iqbalnoma" in his work "Qissai Daroi Zarrinkamar".
Nurmuhammad Bukhari, Mulla Fazil Khomushi, while
commenting on Nizami's "Khamsa", tried to analyze
"Iskandarnama" in more detail.
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