American Journal Of Philological Sciences
135
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue02 2025
PAGE NO.
135-139
10.37547/ajps/Volume05Issue02-37
Analysis of the figures of Aristotle and Socrates in
Alisher Va
voi’s works
Umarova Gulmalika Kakhramonovna
PhD Student, Shakhrisabz State Pedagogical Institute, Uzbekistan
Received:
24 December 2024;
Accepted:
26 January 2025;
Published:
28 February 2025
Abstract:
In Eastern classical literature, there are traditional figures that appear repeatedly in stories, legends,
epics, and overall creative works, becoming widely known and popular. One of these figures is the wise man
(hakim). In the literature and historical books of the near and Middle East, this figure is often referred to by names
such as "hakim" (wise man) or "donishmand" (scholar).
Keywords:
Eastern classical literature, Alisher Navoiy, wise man, Aristotle, Socrates, Plato, Epic of Gilgamesh,
"Saddi Iskandariy," epic.
Introduction:
The concept of the sacred seven has
been of equal importance to almost all peoples on
Earth. This number, being one of the most famous
magical numbers, has been especially revered in the
East. Regarding the origin of this number and its
connection with the planets, S. Hasanov explains it in
relation to the religious beliefs of the Sumerians who
lived in the south of Babylon. Zoir Ziyotov, in his book
Sumerians and the Turan Tribes, proposes the idea that
the Sumerians are actually the ancestors of the peoples
of Central Asia. The epic Epic of Gilgamesh, which
serves as an example of the creativity of this people,
contains the significant motif of the number seven.
Specifically, in Sumerian epic poetry, the goddess of
love, Inanna, passes through seven gates of the under
world, the priests in the religious temple are divided
into seven levels, and so on. At that time, Babylon’s
powerful culture and the idea of seven main gods,
including the seven famous planets, had not yet
formed. As Babylon assimilated and developed
Sumerian culture, astronomy became central in
Babylonian civilization, and the seven planets
(according to the worldview of that time) were
accepted as seven gods influencing the world and
human life. The seven-based week days were also
formed. The seven gods were each designated as the
patron of a particular domain. In the book “"Lison ut
-
tayr Images: The World of Symbols and Metaphors by
literary critic Zuhra Mamadaliyeva, the following
information is provided: "The concept of monotheism
in Islam
—
Tawhid
—
reduced the religious and divine
significance of the sevenfold harmony of the world’s
balance in the Islamic East. Through the religious views
and culture of Babylon, heroes were no longer
considered gods but were instead interpreted merely
as planets. However, this harmony had become so
deeply ingrained in the consciousness of Eastern
peoples that it could not be entirely removed from
popular thought and consumption. Furthermore, the
concept of seven also gained importance within Islam.
The belief that Allah created the world in seven days,
the seven levels of hell and one more heaven, and the
seven layers of the heavens and the earth are described
in relation to the concept of the Mi'raj (ascension). The
idea that the seven planets influenced the seven days
of the week, the seven climates, and people's
consciousness, providing patronage, and their qualities
or lack thereof, was preserved in Muslim Eastern
astrology. Although they no longer held divine power
or were independent gods, as angels, they were
depicted in the Mi'raj literature, taking pride in kissing
the Prophet's saddle and being honored by the touch
of his foot, and they continued to exist in some form."
It can be said that the number "seven" has symbolic
meaning in Sufi literature, which is an integral part of
classical literature. In Sufism, terms such as "seven
stations" and "seven states" led to the emergence of
symbolic representations such as "seven climates,"
American Journal Of Philological Sciences
136
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
"seven planets," and "seven worlds." In the earlier
stages of Sufism, the levels of the soul, which were
classified into four stages, were later identified as
seven stages by the Naqshbandi order. These stages are
as follows: nafs al-ammara (the commanding soul), nafs
al-lawwama (the reproaching soul), nafs al-mulhama
(the inspired soul), nafs al-mutmainna (the tranquil
soul), nafs al-raziya (the content soul), nafs al-mardiya
(the pleased soul), and nafs al-kamila (the perfected
soul, or the soul of the Sufi).
Navoiy's Seven Wise Men are as follows: Plato
(Aflotun),
Socrates
(Suqrot),
Galen
(Balinos),
Hippocrates (Buqrot), Hermes (Hurmus), Pythagoras
(Farfmyus), and Aristotle (Arastu). In the epic, it is
stated that there are 500 wise men in total by
Alexander’s side, of which ten are always with him. This
independent city-state later falls under the influence of
Macedonia. Alisher Navoiy was a wise man who always
revered and valued knowledge and enlightenment.
The epic “Saddi Iskandariy” is one
of Alisher Navoiy's
works in which the figures of wise men are prominently
featured. The wise men mentioned in this work are
Naqumojis (Naqumohis, Nikomaxos, the father of
Aratun in the epic), Aristotle (Arastu), Plato (Filotun-
Aflotun), Socrates (Suqrot), Galen (Asqalinus),
Hippocrates
(Buqrot),
Hermes
(Hurmus),
and
Pythagoras (Faysog‘urs). It is well
-known that from
ancient times, Greek scholars and philosophers,
especially Aristotle, Socrates, Hippocrates, and others,
were also widely known to the peoples of the Near and
Middle East. Many of their works were translated into
Arabic, commented on, analyzed, and some were
creatively reworked by scholars in Central Asia and
other countries. Stories and legends about Aristotle,
Plato, and others, as well as literary works, emerged
over time. Undoubtedly, Navoiy was well-acquainted
with most of these. However, Navoiy did not aim to
create historical representations of Greek scholars and
philosophers or to provide information about their
scientific activities in
“Saddi Iskandariy”, nor did he
intend to expound their social and philosophical views.
The ideological and aesthetic purpose of the work did
not require this. Following tradition, Navoiy uses the
names of these scholars but through their figures, he
seeks to shed light on the social and political issues, as
well as educational and upbringing matters of his time.
Just as he moved Alexander from the ancient world to
his own era, or more precisely, to the world of
progressive thought and dreams of his time, Navoiy
also brings the scholars into the context of his own time
and place. The scholars in “Saddi Iskandariy”, with their
worldview and social-political ideals, represent the
progressive thinkers of Navoiy's era. The ideas
expressed through their voices are
, in fact, Navoiy’s
own thoughts and reflections.
In “Saddi Iskandariy”, Navoiy promotes the idea that
rulers should work in consultation with the council of
scholars and wise men. He presents a range of social,
political, and ethical-educational issues through the
voices of these scholars. This is most commonly
expressed in the form of a question from Alexander and
an answer from Aristotle.
The figures of the wise men play a significant role in the
development of the epic’s ideological motifs. They
complement and enhance the character of the main
hero, Alexander. Alexander consults with the wise men
on every matter, follows their rational advice, solves
problems with their assistance, and overcomes
dangers. In this way, the wise men in “Saddi Iskandariy”
do not remain confined to their scientific activities;
they actively participate in social and political life,
advocating for the practical, life-changing results of
science and thought. Navoiy aspired for scholars and
the intellectual community to be like this, dreaming of
a world where they could engage in such a way.
Navoiy promotes the idea that rulers should act in
consultation with scholars and the council of wise men.
He addresses a number of social, political, and ethical-
educational issues through the voices of these scholars.
This is predominantly expressed in the form of a
question from Alexander and an answer from Aristotle.
Navoiy portrays the relationship between Alexander
and the wise men in such a close manner that they are
depicted not as a king and his subordinates, but as close
friends. Alexander is shown as a talented scholar, a
herald and patron of knowledge and enlightenment.
Having been educated by Naqumojis in his youth,
Alexander remains in the company of scholars like
Aristotle and Plato throughout his life. He follows their
advice and supports their scientific endeavors. In the
epic, it is mentioned that Alexander has a total of five
hundred wise men by his side, ten of whom are always
with him.
Bor erdi janobida besh yuz hakim,
Alard
in o‘ni kecha
-kunduz nadim:
Filotun, Arastu, Balinos ham,
Yana Arashmidus, Shaminos ham.
Qilinmunu Volisu Farfurnus
Ki, Suqrotu Hurmus kibi xokbo‘s.
Although it is stated that there are ten wise men here,
in fact, the primary role of the seven lies in their
distinction from others. Among these seven wise men,
the most frequently mentioned figures in the epic are
those of Aristotle and Socrates.
Aristotle, the Greek philosopher, is the Eastern name
American Journal Of Philological Sciences
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
for Plato’s disciple. Born in 384 BCE in the city of
Stagira, located on the Aegean Sea, he is sometimes
referred to as Aristotle of Stagira. This independent
city-state, which later fell under the influence of
Macedonia, had once separated from the Hellenic
League. Aristotle's father, Nicomachus, came from a
family of physicians and served in the court of King
Amyntas III of Macedonia. In 367 BCE, Aristotle entered
Plato's renowned Academy in Athens, where he
studied for twelve years before starting to teach there.
Plato took pride in his disciple Aristotle. From a young
age, Aristotle was a close companion of King Philip II's
son, Alexander. When Philip II ascended the throne in
340 BCE, Aristotle was invited to the Macedonian
capital, Pella, and appointed as the tutor of the 13-year-
old Alexander. Aristotle began to educate his pupil in
the spirit of the heroic ideals expressed in Homer's
“Iliad”.
Later, Alexander is said to have remarked, "I respect
Aristotle as I do my father, because my father gave me
life, while Aristotle gave me the values of life." In 339
BCE, after ascending to the throne, Alexander returned
to his hometown of Stagira. The city, which had been
destroyed during the wars of Philip II, was rebuilt by
Alexander in honor of his teacher. In Firdawsi's
“Shahnameh”,
Aristotle
is
acknowledged
as
Alexander's
teacher.
In
Nizami
Ganjavi's
“Iskandarnama” and Khusraw Dehlavi’s “Oyinai
Iskandariy”, Aristotle is depicted as Alexander’s
primary mentor and companion, accompanying him
even on his sea voyages. In Jami’s “Khiradnama
-i-
Iskandar”, he also assumes this role. In “Saddi
Iskandariy”, the central philosopher and teacher of
Alexander, Aristotle continues to guide him throughout
his reign until the end of his life. Aristotle’s advice
played a crucial role in shaping the great conqueror into
a renowned philosopher-king. He leads a hundred
scholars, including Hippocrates, in creating a mirror
that shows the world to Alexander. Nizami Ganjavi’s
“Iskandarnama”, dedicated to Alexander the Great
(Zulqarnayn), consists of two parts: “Iqbolnoma” and
“Sharafnoma”. Th
e second part of the epic,
“Sharafnoma”, is composed of conversations between
the conqueror and scholars. In this section, the figure
of Aristotle is depicted as the central symbol of wisdom.
The story tells of the Egyptian queen, Maryam, who,
while ruling over Syria, finds herself in a dire situation
due to the powerful Ethiopian army's attack on her
kingdom. Seeking help to defend her state, Maryam
appeals to the great conqueror, Alexander. Listening to
her plea, Alexander sends her to his teacher, Aristotle,
for advice. Before offering military assistance, Aristotle
imparts much wisdom and knowledge related to the
sciences and philosophy to the queen. According to
Nizami's epic, Aristotle’s status in Alexander's court
was so high that kings and queens would dream of
performing the humble task of pouring water for him
while he washed his hands. Specifically, Queen Maryam
is granted the honor of performing this task. Aristotle
advises the queen that, in order to strengthen her
kingdom, she must take care of her army and people.
He explains that for this, wealth, influence, and
resources are essential, and teaches her the craft of
turning copper into gold, known as "Alchemy." By
mastering these sciences and fair governance, Queen
Maryam succeeds in elevating her country to the ranks
of powerful states.
In Jami's “Iskandarnoma”, D. Yusupova, a Candidate of
Philosophy, comments on the work, stating that in
“Xiradnama
-i-
Iskandar” ("The Wisdom of Alexander"),
Alexander is portrayed as a mystic who built his life
upon Sufism. In this epic, Aristotle is again depicted as
Alexander's teacher, imparting lessons on ethics,
morality, and the secrets of kingship, as per the
instructions of Alexander’s father. The story of
Alexander’s birth, education, maturation, and his
ascension to the throne after his father’s death is
briefly summarized, and the work primarily consists of
the “Xiradnomalar” (wisdom teachings). Returning to
“Saddi Iskandariy”, among the seven Greek
philosophers and Navoiy’s seven wise men, only
Socrates and Pythagoras correspond to each other. If
we consider Alexander (Alexander the Great) and his
contemporaries, the list narrows down even further, as
only Aristotle and Diogenes were actually his
contemporaries. This indicates that Navoiy did not pay
attention to the issue of chronology and instead, he
included Greek philosophers who were well known and
prominent in his own time alongside his version of
Alexander. In this work, all the Greek philosophers are
depicted within the framework of Islamic ideology.
They only appear independently when offering
condolences and advice to Alexander's mother, Banu,
and in the “Xiradnomalar” presented at the end of the
epic. In other sections, Aristotle, followed by Socrates,
and partially by Plato, plays the main roles.
It is well known that in both the East and the West,
Aristotle was revered as the "Master of Logic" and
"Father of Logic." Therefore, Navoiy assigns Aristotle to
be Alexander’s chief mentor in his conquest of the
seven climates of the world. Aristotle enters the epic in
Chapter XVIII of “Saddi Iskandariy”. The central part of
the epic has a distinctive composition. Inspired by the
game presented by the King of Chin, Alexander
motivates the scholars to come up with new scientific
inventions. Under the leadership of Plato and Socrates,
the scholars invent the astrolabe, which reveals the
realm of stars, and under the guidance of Aristotle and
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
Hippocrates, they discover a game that demonstrates
the phenomena of the earthly realm, and the hellish
world.
At
Alexander’s initiative, the natural and geographical
features of the regions are studied, and markers are
established to show distances in various places. By
listing all these activities, Navoiy’s aim is to emphasize
the need for every ruler to pay attention to knowledge,
enlightenment, and education, and that with this focus,
any state’s prosperity and rise are achievable.
In Alisher Navoiy's epics Farhod and Shirin, Saddi
Iskandariy, the figure of Socrates holds a special place.
In his work “Tarixi anbiyo va hukamo” (The History of
Prophets and Philosophers), Navoiy also mentions
Socrates among the wise men. According to Navoiy,
Socrates was a disciple of the wise man Hippocrates
and lived during the time of Humay bint Bahman. In his
words, Navoiy reflects on Socrates' teachings, stating,
"To show humility to an ignorant person is like giving
water to someone who cannot drink enough, no matter
how much they drink, it remains bitter." Furthermore,
he comments on the idea that attempting to do good
without knowledge is worse than the worst actions,
and that one could know their enemy by consulting
with them, as long as they are aware of their enmity.
Poem:
Cheksa dushman sening salohingga til,
Mahzi afsod bo‘lg‘usidur bil.
In all of Navoiy’s works, Socrate
s is described as a wise
figure with a profound understanding of both outward
and inward knowledge. He is portrayed as having
access to the treasury of secrets, a pure heart, and
being the master of wisdom. Navoiy does not apply
such qualities to any other character in his works. In
“Farhod va Shirin” and “Saddi Iskandariy”, Socrates
appears at crucial turning points in the heroes'
destinies, resolving difficult problems that no one else
could solve. This approach by the author serves as a
foundation for imagining Socrates as the epitome of a
perfect human being.
The role of Socrates in Navoiy's “Farhod va Shirin” has
been extensively studied in Navoiy studies. However,
this is not the only interpretation of Socrates as a
perfect human in Navoiy's works. In the fifteenth
chapter of the epic “Khamsa”, Socrates is depicted as a
symbol of the perfect human. The components of this
chapter
—”Mulohaza” (Reflection), “Hikoyat” (Story),
“Hikmat” (Wisdom), and “Voqea” (Event)—
serve as a
basis for this interpretation. Through these sections,
Navoiy emphasizes Socrates' embodiment of ideal
human qualities, further solidifying his portrayal as a
figure of wisdom and perfection in the author's
philosophy.
In the events depicted, Aristotle leads Alexander's
journey on land, while Socrates guides him on the sea
voyage. This reflects Socrates' role as a true knower of
realities and a spiritual guide, indicating his perfection
as a master. In Sufi literature, water is often used as a
symbol representing certain truths. Thus, Socrates'
association with the sea signifies his deep
understanding of spiritual and existential truths,
further reinforcing his image as a guide to higher
knowledge and enlightenment.
The purpose of extensively portraying the figure of the
wise men was, in fact, to highlight this very concept.
Based on the ideas mentioned above, it can be
concluded that:
1.
Abdurahman Jami's "Khiradnama-i-Iskandar"
and Alisher Navoiy's "Saddi Iskandariy" were created in
almost the same period, in 1485. Hazrat Navoiy's Saddi
Iskandariy is significantly larger in size, consisting of
7,215 verses. This is three times the length of Jami's
epic. In Jami's work, the focus is not on Alexander’s
conquests, but on his wisdom, whereas Alisher Navoiy
embodies his dreams of a just king through the figure
of Alexander.
2.
Alexander the Great (Zulqarnayn) is also
portrayed as a wise man, as evidenced by his act of
gathering these wise men and assigning them the task
of discovering various things. This act itself is a
testament to his wisdom, as it shows his recognition of
the importance of knowledge and his ability to lead and
guide those who can contribute to the advancement of
understanding.
3. Although the wise men lived in different periods of
history, they are depicted in the work as scholars from
the same era. This suggests that Navoiy is not
concerned with the specific time period in which these
philosophers lived, but rather emphasizes that the
knowledge they created is always valuable and
necessary, regardless of time.
4. In this epic, Navoiy underscores that any ruler should
have wise men around them and make decisions based
on their counsel. Through this, Navoiy conveys the idea
that wisdom and guidance are essential for just and
successful governance.
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